Podcasts about jacobs school

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Dr. Brittany Lasch, trombone soloist and professor at Indiana University.   About Brittany: A winner of the S&R Foundation Washington Award and Astral Artists National Auditions, trombonist Brittany Lasch brings authenticity and unshakeable commitment to all aspects of her music-making. Increasingly in demand as a soloist with orchestras and brass bands alike, Brittany balances an intensive performance career with her role as a sought-after educator and newly appointed Assistant Professor of Trombone at the renowned Jacobs School of Music at Indiana University. As a serial collaborator and commissioner of composers, Brittany is a musical explorer creating new repertoire for her instrument from some of today's most compelling voices, and true ambassador in expanding recognition for the trombone as a powerful solo voice for today. Brittany has appeared as a soloist with ensembles ranging from the U.S. Army Band “Pershing's Own”, Rodney Marsalis Philadelphia Big Brass, and for concerto performances with the Queens Symphony, National Repertory Orchestra, Bucks County Symphony, Bowling Green Philharmonia, Manhattan School of Music Philharmonia, and others across the country. With playing described as “masterful” (Syracuse Post-Standard), American Record Guide recently hailed Brittany as an "excellent soloist" across a diverse range of repertoire.  Brittany has been a featured guest artist at numerous festivals, including the International Trombone Festival, the International Women's Brass Conference, and the American Trombone Workshop. She was a winner of the National Collegiate Solo Competition hosted by the U.S. Army Band, the Eisenberg-Fried Brass Concerto Competition at the Manhattan School of Music, the Zulalian Foundation Award in Boston. Her trombone quartet Boston Based won the 2017 International Trombone Association's Quartet Competition. In 2018, Brittany was awarded 2nd place in The American Prize Solo Instrumentalist competition. A prizewinner in numerous other competitions, she received the coveted John Clark Award upon graduation from the Manhattan School of Music for outstanding accomplishment in brass performance. For six seasons, Brittany was the Principal Trombone of the Detroit Opera Orchestra at the Detroit Opera House. She has performed with orchestras nationwide, including the San Francisco Symphony, Los Angeles Philharmonic, Indianapolis Symphony, St. Louis Symphony, Detroit Symphony, Nashville Symphony, The Florida Orchestra, Toledo Symphony Orchestra, ProMusica Chamber Orchestra, Rhode Island Philharmonic, the Oregon Bach Festival Orchestra, the Vermont Symphony, Albany Symphony, Syracuse Symphony, and the New World Symphony in Miami Beach. She participated in the Verbier Festival Orchestra for two summers, and has also appeared at the Spoleto USA Festival, the Pacific Music Festival in Sapporo, Japan, the Castleton Festival, and the Aspen Music Festival. An active presence in the global trombone community, Brittany's performances for the current and past seasons include Argentina's Trombonanza, Portugal's Gravíssimo Festival, as well as appearances in Japan and Korea. As an advocate for new music, Brittany has commissioned and performed several new pieces for the trombone, including acclaimed composer Reena Esmail's major Sonata for Trombone and Piano, which she commissioned for her Astral Artists recital in Philadelphia. Brittany gave the premiere of the orchestrated version of Martin Kennedy's Theme and Variations for Trombone and Orchestra with the BGSU Philharmonia under the direction of Dr. Emily Brown. She also recorded the work with the BGSU Philharmonia, which was recently released on the Albany Records label. Other recent projects include collaborations with composers Inez McComas, Adam Har-zvi, and David Miller. Her debut solo album Dark Horse features works by Samuel Adler, Tony Plog, Reena Esmail, Shawn Davern, and the album's pianist, Thomas Weaver. A native of Park Ridge, Illinois, Brittany earned her Doctor of Musical Arts degree from Boston University, where she received the Brass Department Award. She also holds a Master of Music degree from Yale School of Music. With a deep commitment to education, she has previously served as faculty at the College of Musical Arts at Bowling Green State University and the Boston University Tanglewood Institute. She has also been a featured teacher and performer at summer festivals, including the Sewanee Music Festival and the DC Trombone Workshop. Recent residencies include those at the University of Central Arkansas, James Madison University (Tromblow'in), University of Iowa, Oklahoma State University, Stetson University, the University of Florida, and as the guest artist at the 2023 Frühling Posaunen hosted at Ithaca College. She has presented masterclasses at universities across the country and internationally. Brittany Lasch is an Edwards Trombone Performing Artist. She also proudly uses and endorses ChopSaver Lip Care. Outside of music, Brittany has recently completed her eleventh full marathon and loves spending time with her cats, Clove and Poppyseed.

On today's show, we explore the upcoming Remembrance Conference 2025, a two-day joint event hosted by the Jacobs School of Medicine and Biomedical Sciences at the University at Buffalo, and the College of Human Medicine at Michigan State University.

This episode of The Other Side of the Bell, featuring a live panel discussion on the legacy of William Adam and AdamFest, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "AdamFest 2025 Panel Discussion"   About the William Adam Trumpet Festival (AdamFest): The 11th Annual William Adam International Trumpet Festival will take place June 19–22, 2025, at Austin Peay State University, hosted by Dr. Rob Waugh. This year's festival brings together a distinguished roster of William Adam's former students—many of whom are among today's leading trumpet artists—for four days of inspiration, performance, and pedagogy. In the spirit of Mr. Adam's legacy, the festival offers a rich mix of masterclasses, performances, complimentary private and group lessons, and targeted seminars on topics such as jazz improvisation, orchestral playing, trumpet fundamentals, and effective teaching. Special programming is available for younger students and their educators. William Adam taught trumpet at Indiana University's Jacobs School of Music from 1946 to 1988 and continued teaching privately until his passing in 2013. Widely regarded as one of the most influential trumpet pedagogues of the 20th century, his teaching emphasized sound, simplicity, and personal connection. The annual festival ensures his philosophy continues to inspire new generations of trumpet players. About Our Panelists: Bobby Burns Jr. is a longtime member of Earth, Wind & Fire and a veteran of the Los Angeles music scene. After studying with the legendary Bill Adam at Indiana University—where he overcame early challenges to earn a degree in trumpet performance—Bobby moved to L.A., balancing day jobs with gigs until establishing a full-time music career. His versatile résumé spans symphonic, studio, and touring work, with credits including The Temptations, Tony Bennett, Dr. Dre, and Broadway productions like Evita and A Chorus Line. Since joining Earth, Wind & Fire in 2004, he has performed on major stages around the world, from the White House to the Grammys. Bobby is also an active educator, passionate about mentoring the next generation of musicians. Charley Davis is a versatile trumpeter, respected educator, and innovative designer with a career spanning over three decades. A fixture in the Los Angeles studio scene, Charley has performed with legends like Frank Sinatra, Natalie Cole, Buddy Rich, and Placido Domingo, and his credits range from motion pictures and Broadway shows to big bands and Las Vegas stages. He currently teaches at Cal State Long Beach, Citrus College, and the Henry Mancini Institute, where he's known for his deep diagnostic insight and mentorship. Charley is also the founder of Charles Davis Music Products, producing a signature line of trumpets and mutes that reflect his commitment to excellence in both sound and craftsmanship. Robert Slack is a seasoned trumpeter, educator, and recording artist with a master's degree in trumpet performance from Indiana University, where he studied under the legendary William Adam. His diverse career has included everything from orchestras and brass ensembles to touring with Buddy Rich and Paul Anka, and performing in Las Vegas showrooms with stars like Frank Sinatra and Sammy Davis Jr. Now based in Los Angeles, Robert has built an extensive studio career with credits spanning film, television, and commercial work. He currently serves as trumpet professor at Azusa Pacific University, where he's been on faculty for over 18 years. Larry Hall is one of Los Angeles' top session trumpet players, known for his versatility across virtually every musical style. A former student of William Adam at Indiana University, Larry has built a prolific recording career with credits spanning film, television, and albums for artists including Elton John, The Jacksons, Earth, Wind & Fire, and Placido Domingo. His ability to adapt his sound to any musical context has made him a first-call player in the L.A. studio scene. Dr. Karl Sievers is a distinguished performer and educator whose career spans orchestral, jazz, and commercial music. A former student of William Adam, he holds a DMA in trumpet performance and recently retired as a Presidential Professor at the University of Oklahoma. Now in his 24th season as principal trumpet of the Oklahoma City Philharmonic, Karl is equally at home playing lead in jazz and Broadway settings. When he's not performing, he enjoys fitness, motorcycles, fishing, and time with family. Gino Muñoz is a versatile musician, educator, and entrepreneur with over two decades of professional performance experience, including work with Michael Bublé and Gwen Stefani. A proud alumnus and now full-time faculty member at Citrus College, Gino has played a key role in shaping the school's acclaimed Instrumental Music program. He is the past Academic Senate President, produces live shows for venues like SeaWorld and Legoland, and is a partner at 37 St Joseph Studios, a professional recording facility in Arcadia. Anthony “Tony” Bonsera Jr. is a dynamic trumpeter, composer, arranger, and educator whose career spans jazz, big band, rock, and fusion. He has played lead or split lead trumpet with groups like The Glenn Miller Orchestra, Big Bad Voodoo Daddy, and the Bill Holman Big Band, and is a longtime faculty member at Citrus College. As a bandleader and recording artist, Tony's projects—such as his original album The Gates of Hell and the genre-blending Los Angeles Classic Rock Orchestra—showcase his creative range. His latest work, L.A.'s Finest, is an ambitious double album featuring top musicians from across the country. A Philly native, Tony still finds time for family, friends, and the occasional cheesesteak.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: WilliamAdamTrumpet.com Bill Adam Facebook Group -  https://www.facebook.com/groups/603106766409745/ Charley Davis Book - A Tribute to William Adam Print Version - https://trumpetmouthpiece.com/products/tribute-to-william-adam-method-book-his-teachings-his-routine-by-charley-davis PDF Version - https://trumpetmouthpiece.com/products/digital-copy-tribute-to-william-adam-method-book-his-teachings-his-routine-by-charley-davis William Adam Brass Choir Arrangements - https://trumpetmouthpiece.com/collections/william-adam-brass-choir-arrangements International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - courtesy of John Snell Audio Engineer - Ted Cragg

Sean Imboden is an American saxophonist and composer. Sean has released three albums as a leader, the most recent being Communal Heart by the Sean Imboden Large Ensemble. His music pioneers forward-thinking, original compositions, and presents cutting-edge live performances. Sean has performed and recorded with GRAMMY-winning artists and jazz luminaries, including Slide Hampton, Taylor Eigsti, Mike Rodriguez, Sean Jones, Emmet Cohen, Steve Allee, Kenny Phelps, John Raymond, and Valery Ponomarev (of Art Blakey's Jazz Messengers). A long-time member of Indianapolis-based quartet Tucker Brothers, Sean plays on the band's four critically-acclaimed albums. An active sideman, Sean has appeared on The Tonight Show Starring Jimmy Fallon and with the Radio City Music Hall Orchestra, the Indianapolis Symphony Orchestra, the Buselli-Wallarab Jazz Orchestra, Aretha Franklin, The Temptations, Barry Manilow, Johnny Mathis, and Idina Menzel. Sean toured internationally for many years with various Broadway productions, and as a featured soloist with Blast II. Sean has taught at the Jacobs School of Music at Indiana University, and is currently on faculty at Butler University and Ball State University. Sean is a Conn-Selmer artist, and works with students around the world through his online Virtual Studio.

Katelyn joined Navigate under unusual circumstances: she was trying to figure out the transition into her assistant professor role, after having been a doctoral student and a full-time researcher at the same institution. She wanted support figuring out her academic mission (especially how it would be different from her advisor's and P.I.'s), and how she could publish her backlog of papers while carving out her own research area. Within the supportive Navigate group, she found that. Though her circumstances were different, her core problems were the same as the other in her cohort: clarity of mission, holding boundaries, and solving writing problems versus tasks.   More about Katelyn: Katelyn Carr is an Assistant Professor at the Jacobs School of Medicine and Biomedical Sciences, University at Buffalo. She studies eating behaviors and motivation in parents and children.   We're receiving applications for our next cohort of Navigate: Your Writing Roadmap®! Check out the program details and start your application process here.   CONTINUE THE CONVERSATION: Our 12-week Navigate: Your Writing Roadmap® program helps tenure-track womxn and nonbinary professors to publish their backlog of papers so that their voice can have the impact they know is possible. Apply here! Cathy's book, Making Time to Write: How to Resist the Patriarchy and Take Control of Your Academic Career Through Writing is available in print! Learn how to build your career around your writing practice while shattering the myths of writing every day, accountability, and motivation, doing mindset work that's going to reshape your writing,and changing academic culture one womxn and nonbinary professor at a time. Get your print copy today or order it for a friend here! If you would like to hear more from Cathy for free, please subscribe to the weekly newsletter, In the Pipeline, at scholarsvoice.org. It's a newsletter that she personally writes that goes out once a week with writing and publication tips, strategies, inspiration, book reviews and more.   CONNECT WITH ME:  LinkedIn Facebook YouTube

**Trumpet Dynamics is now featuring videos exclusively on YouTube! Check it out: https://www.youtube.com/@allin-trumpetIn this episode of Trumpet Dynamics, host James D. Newcomb welcomes Jason Bergman, the newest trumpet faculty member at Indiana University's Jacobs School of Music. Jason shares his teaching journey, previous roles at Brigham Young University, University of North Texas, and University of Southern Mississippi, and emphasizes the importance of focusing on students' unique goals and promoting a culture of wholeheartedness in teaching. The discussion delves into the concepts of shame, vulnerability, and self-care, inspired by Brene Brown's research, and how these concepts can transform both teaching and performance. Jason also talks about his personal self-care practices and the impact of creating a supportive and non-competitive learning environment.Episode highlights:04:00 Teaching Philosophy and Influences08:59 Jason's Early Life and Trumpet Beginnings13:30 Career Path and Teaching Experiences16:07 Adapting Teaching Methods21:15 Self-Care and Personal Growth24:56 Personal Growth and Teaching Evolution25:34 Discovering Brene Brown's Research26:29 Studio Growth and Student Perfectionism27:55 Addressing Shame and Vulnerability in Music34:33 Global Perspectives on Music Education39:30 Creating a Supportive Environment44:35 Personal Practices for Self-Care48:05 Conclusion and Final ThoughtsResources mentioned:jasonbergman.comThe story of the trumpet is ever evolving and growing with each passing note. Join the tribe today at trumpetdynamics.com!

More than half of the people living with MS live with pain. And, too often, the distraction and discomfort of MS-related pain can stop you from fully engaging in every aspect of your life. Dr. Bianca Weinstock-Guttman joins me to discuss treatment options for managing MS pain. Dr. Weinstock-Guttman is a neurologist and professor of neurology at the Jacobs School of Medicine and Biomedical Sciences at the University of Buffalo, where she also serves as the Director of the Jacobs Multiple Sclerosis Center for Treatment and Research. We're also taking a moment to respond to all your questions and concerns about the state of healthcare policy and administration in the U.S. federal government. MS experts in Australia and New Zealand have released recommendations for MS care in those countries. We're sharing all the details.  We'll tell you about the National MS Society's initiative designed to improve access to MS care in rural communities in the U.S. And we'll share the details of a study that shows that, together, obesity and smoking worsen MS symptoms faster. We have a lot to talk about! Are you ready for RealTalk MS??! This Week: Managing MS pain  :22 Responding to your concerns about healthcare in the U.S.  :57 Recommendations published for treating MS in Australia and New Zealand  7:16 National MS Society has launched an initiative designed to improve access to MS care in rural communities in the United States  9:09 Together, smoking and obesity worsen MS physical and cognitive symptoms faster  12:46 Dr. Bianca Weinstock-Guttman shares treatment options for managing MS pain  14:14 Share this episode  29:19 Have you downloaded the free RealTalk MS app?  29:38 SHARE THIS EPISODE OF REALTALK MS Just copy this link & paste it into your text or email: https://realtalkms.com/390 ADD YOUR VOICE TO THE CONVERSATION I've always thought about the RealTalk MS podcast as a conversation. And this is your opportunity to join the conversation by sharing your feedback, questions, and suggestions for topics that we can discuss in future podcast episodes. Please shoot me an email or call the RealTalk MS Listener Hotline and share your thoughts! Email: jon@realtalkms.com Phone: (310) 526-2283 And don't forget to join us in the RealTalk MS Facebook group! LINKS If your podcast app doesn't allow you to click on these links, you'll find them in the show notes in the RealTalk MS app or at www.RealTalkMS.com RealTalk MS on YouTube https://www.youtube.com/@RealTalkMS Consensus Recommendations on Multiple Sclerosis Management in Australia and New Zealand https://mja.com.au/journal/2025/222/7/consensus-recommendations-multiple-sclerosis-management-australia-and-new STUDY: Smoking and Obesity Interact to Adversely Affect Disease Progression and Cognitive Performance in Multiple Sclerosis https://onlinelibrary.wiley.com/doi/10.1111/ene.70058 Join the RealTalk MS Facebook Group https://facebook.com/groups/realtalkms Download the RealTalk MS App for iOS Devices https://itunes.apple.com/us/app/realtalk-ms/id1436917200 Download the RealTalk MS App for Android Deviceshttps://play.google.com/store/apps/details?id=tv.wizzard.android.realtalk Give RealTalk MS a rating and review http://www.realtalkms.com/review Follow RealTalk MS on Twitter, @RealTalkMS_jon, and subscribe to our newsletter at our website, RealTalkMS.com. RealTalk MS Episode 390 Guest: Dr. Bianca Weinstock-Guttman Privacy Policy

Jacob is joined by Dr. David Cody to discuss Sondheim's famous musical Into the Woods. Dr. Cody provides a detailed and rich exploration of the music of the show.  David Cody is a professional singer, actor, and musical director primarily in musical theatre and opera. He also teaches courses in voice, musical theatre history, and music theory at The University of Montana. He is a graduate of the Jacobs School of Music at Indiana University where he received masters and doctorate degrees in vocal performance. Although his roots are in classical singing, he welcomes all styles of music in his voice studio. ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

We've got another installment of Big Fat Five: a segment where I talk to drummers about the stories and records that shaped their sound. Today's guest is Lucy Ritter, a New York/New Jersey native who picked up the drums at just 9 years old and was already landing professional gigs by 14. After three years at the Jacobs School of Music at Indiana University, she made the bold decision to leave and join her first major tour: the Broadway musical An Officer and a Gentleman. That gig opened doors, eventually leading to her being offered the drum chair for the Grammy Award-winning musical Jagged Little Pill. These days, Lucy has stepped away from the Broadway scene and taken on an exciting new role as the drummer for one of today's fastest-rising pop acts, Chappell Roan. We dig into how she landed that gig and explore the five records that have profoundly influenced her drumming style. This episode has been a long time coming, so let's dive in. I hope you enjoy my conversation with the incredibly talented Lucy Ritter... cheers!

China is the world's largest energy consumer and carbon emitter, accounting for one-third of global CO2 emissions. One of its biggest sources of emissions is coal, which plays a central role in China's economy. At the same time, however, China is the world's leading supplier of renewable energy, largely due to significant government investments in green technologies, including solar manufacturing, batteries, and minerals. In September 2020, China's leader Xi Jinping announced the goal of achieving peak CO2 emissions before 2030 and carbon neutrality before 2060.” This ambitious pledge, if realized, will be an important step in global efforts to limit global warming.In the past few years, the increasingly competitive and fraught relationship between the United States and China has spilled into the climate domain, threatening the potential for both countries to work together to address climate change. That is the topic of a recent commentary co-authored by Margaret Pearson and Michael Davidson. The paper is titled, “Where are the US and China on addressing climate change?”, and it can be found on the Brookings Institution website. In this episode of China Global, host Bonnie Glaser speaks with one of the authors, Michael Davidson, who is an assistant professor at the School of Global Policy and Strategy and the Mechanical and Aerospace Engineering Department of the Jacobs School of Engineering at the University of California San Diego. Timestamps[01:57] China's Approach to Addressing Climate Change[04:26] Considerations Behind China's Climate Policy [07:37] Doubling Down on Coal Domestically[10:34] Evaluating China's Progress Toward Carbon Neutrality[14:42] Security and China's Climate Change Policy[19:13] China's International Climate Cooperation[22:45] US-China Working Group on Enhancing Climate Action [30:27] The Green Belt and Road Initiative

Rick and Ron host Internationally renowned jazz drummer, percussionist, clinician, author, and educator, Steve Houghton to the podcast. Steve initially received acclaim at age twenty as the drummer with Woody Herman's Young Thundering Herd. Since then he has shared stage and studio with luminaries Freddie Hubbard, Rufus Reid, Gary Burton, Dave Stryker, Clay Jenkins, Shelly Berg, Jared Gold, Lyle Mays, Bob Sheppard, Billy Childs, Bobby Hutcherson, Pat LaBarbara, Bobby Shew, Geoff Keezer, Bob Bowman, Walter Smith III , Wayne Bergeron, Bill Cunliffe, Arturo Sandoval, Steve Allee, Joe Henderson, Ray Brown, Eddie Henderson, among others. Steve retired in 2022 as Professor of Percussion and Jazz at Indiana University's Jacobs School of Music. He continues to presents clinics and master classes to students around the world, most recently in Germany, England, China, New Zealand, Australia and Taiwan. Houghton is a Past- President of the Percussive Arts Society (PAS) a founding member of the Jazz Education Network (JEN) and endorses, Yamaha drums and percussion, Zildjian cymbals, Vic Firth sticks and mallets, and Remo world percussion products and drumheads.

Internationally renowned jazz drummer, percussionist, clinician, author, and educator, Steve Houghton initially received acclaim at age twenty as the drummer with Woody Herman's Young Thundering Herd. Since then he has shared stage and studio with luminaries Freddie Hubbard, Rufus Reid, Gary Burton, Dave Stryker, Clay Jenkins, Shelly Berg, Jared Gold, Lyle Mays, Bob Sheppard, Billy Childs, Bobby Hutcherson, Pat LaBarbara, Bobby Shew, Geoff Keezer, Bob Bowman, Walter Smith III , Wayne Bergeron, Bill Cunliffe, Arturo Sandoval, Steve Allee, Joe Henderson, Ray Brown, Eddie Henderson, among others. Steve retired in 202 as Professor of Percussion and Jazz at Indiana University's Jacobs School of Music. He continues to presents clinics and master classes to students around the world, most recently in Germany, England, China, New Zealand, Australia and Taiwan. Houghton is a Past- President of the Percussive Arts Society (PAS) a founding member of the Jazz Education Network (JEN) and endorses, Yamaha drums and percussion, Zildjian cymbals, Vic Firth sticks and mallets, and Remo world percussion products and drumheads.

In this episode of the ChinaPower Podcast, Dr. Michael Davidson joins us to discuss China's energy security. Dr. Davidson gives an overview of China's energy landscape and compares it to that of other countries, such as the United States. He explains how China's energy priorities have evolved throughout the last decade, especially in response to factors such as climate change and the Russian invasion of Ukraine. Dr. Davidson emphasizes the effects that the 2021 and 2022 power shortages in China had on senior Chinese leadership and the resulting elevation in importance of energy security, specifically in the power sector. Additionally, Dr. Davidson discusses China's challenge in balancing energy security with its goals of reducing emissions and the resulting expanded definition of what energy security encompasses. Finally, Dr. Davidson speaks to how China's evolving energy security affects its foreign policy and the potential risks for the U.S. and other countries in collaborating with China on clean energy.   Dr. Michael Davidson is an assistant professor at the School of Global Policy and Strategy and the Mechanical and Aerospace Engineering Department of the Jacobs School of Engineering. Michael Davidson's research focuses on the engineering implications and institutional conflicts inherent in deploying renewable energy at scale. He is particularly interested in China's energy system, which he has studied for over 15 years. Dr. Davidson was previously the U.S.-China Climate Policy Coordinator for the environmental nonprofit Natural Resources Defense Council (NRDC). He was a Public Intellectuals Program Fellow at the National Committee of U.S.-China Relations, is a current fellow with the Penn Project on the Future of U.S.-China Relations, and a former Fulbright Scholar. Prior to joining UC San Diego, Davidson was a postdoctoral research fellow at the Harvard Kennedy School Belfer Center's Environment and Natural Resources Program. He received his Ph.D. in engineering systems and a masters in Technology and Policy from MIT.   

Welcome back Dominic Lim, author, singer, and storyteller, to the show! We first talked to Dom back in Fall 2022, when he'd signed his two-book deal. We caught up with him again last summer when his debut novel All the Right Notes launched to great acclaim: it was named a 2023 best book by over 20 publications, including USA Today, Harper's Bazaar, Goodreads, the SF Chronicle, and Entertainment Weekly. And now, Dom is preparing for the launch of his second novel, Karaoke Queen, which comes out September 17th, 2024. In this episode, you'll get a sneak peek into Karaoke Queen, which marks history as the first published romance novel with a drag queen as its main character.  Dom is a member of the Writers Grotto and a co-host of the Babylon Salon reading and performance series in San Francisco. He studied psychology at Oberlin and got his masters from Indiana University's Jacobs School of Music. As a proud member of the Actors' Equity Association he's sung and performed Off-Broadway and in regional productions throughout the US.  Find Dominic at dominiclim.com, and buy Karaoke Queen wherever you get your books. ~ Are you a high achiever, a leader, or an Ampersand who's recently taken on more responsibility at work? For high-achieving professionals, Jessica Wan's executive coaching services stand out as a rare gem. She provides strategic guidance and practical solutions, a unique offering that not only propels her clients' careers forward but also builds their capacity for significant leadership roles in their respective sectors. Her innovative coaching techniques and personalized approach set her apart from the rest. BOOK AN INTRO CALL: ⁠https://calendly.com/jessicawancoaching/intro-call-coaching⁠⁠ Follow Jessica on LinkedIn Credits Produced and Hosted by ⁠⁠Jessica Wan⁠⁠ Co-produced, edited, and sound design by ⁠⁠⁠⁠Carlos Schmitt⁠ Theme music by ⁠⁠Denys Kyshchuk⁠⁠ and ⁠⁠Stockaudios⁠⁠ from ⁠⁠Pixaba⁠y⁠

August 6, 2024 - Dr. Andrew Talal, a professor at the Jacobs School of Medicine and Biomedical Sciences at the University of Buffalo and a member of the state's Hepatitis C Elimination Task Force, discusses the ongoing efforts to eliminate hepatitis C as a public health threat in New York by 2030.

How do racial and gender bias, discrimination, and microaggressions affect health outcomes? Why does it matter? Can we really make a difference?This week, I have the pleasure of being joined by Dr. Laverne Thompson to discuss how we can all make the workplace a more inclusive space for everyone involved.Dr. Thompson was born in Rochester, NY. She attended Allegheny College in Meadville, PA before attending medical school at Jacobs School of Medicine and Biomedical Sciences in Buffalo, NY. She went on to complete her surgical residency at the Case Western Reserve University Hospitals Program in Cleveland, OH. During residency, Dr. Thompson was able to actualize her vision of supporting diversity in medicine while creating professional cultures of understanding and support. She created the Cultural Humility Series in the Department of Surgery to teach faculty about systemic bias, healthcare disparities, and microaggressions. The series continues to review patient outcomes affected by bias and find strategies to improve the health system. Additionally, she was able to explore her passion for education and resident advocacy through multiple avenues. She has demonstrated her commitment to these endeavors through research, several leadership positions in her local GME office, and appointment as Administrative Chief Resident for her program.Featured in this episode: How microaggression can build up over time for medical personnel How internalizing issues lead to burnout and increased employee turnover It's not just about people's “feelings” How to incorporate DEI principles into Morbidity and Mortality conferences Building systems and curriculums to educate staff on bias and microaggressionsSubmit your questions on anything and everything women's health-related and we will answer them in one of our episodes.Want more from Our Womanity?If you enjoyed this episode of Womanity, please subscribe, rate, and leave a review. Your feedback helps us continue to bring you engaging and empowering content.Follow us on social media: Instagram: @drrpope TikTok: @vulvadoctor Twitter: @drrpope LinkedIn

A particularly important episode of the Mind Over Finger Podcast with guest Lara St. John where we discuss the context and impact of sexual abuse, the lack of representation, and how women often don't get the support they need.  Lara shares her own experiences and she stresses the need for institutions to step up and create a safe space for everyone by being transparent, and having clear steps to handle sexual harassment and assault.  Finally, we touch on the power dynamics and gender issues in the classical music world and the difficulty of addressing these issues in a society that often prefers to stay silent    Download the transcript from this episode HERE   MORE ABOUT LARA ST. JOHN Website:  https://www.larastjohn.com/ YouTube channel:  https://www.youtube.com/@StJohnLara Facebook: https://www.facebook.com/AncalagonRecords Instagram: https://www.instagram.com/stjohnlara/ Lara St. John & the Curtis Institute: https://larastjohn.club/  Resources RAINN (Rape, Abuse & Incest National Network): https://www.rainn.org/ Offers support, information, and a hotline for victims of sexual assault. National Sexual Violence Resource Center (NSVRC): https://www.nsvrc.org/ Provides resources and information on sexual violence prevention and support for survivors. Me Too Movement: https://metoomvmt.org/ Advocacy and support network for survivors of sexual violence. Time's Up: https://timesupnow.org/ An organization that addresses workplace sexual harassment and inequality. Equal Employment Opportunity Commission (EEOC): https://www.eeoc.gov/ Federal agency providing information and support on workplace discrimination and harassment. National Women's Law Center (NWLC): https://nwlc.org/ Provides legal information and resources related to sexual harassment and gender equality in the workplace. Writers Guild of America's “MYConnext” Tool: https://www.wga.org/members/employment-resources/know-your-rights Resource for reporting workplace harassment and finding support. The Black Orchestral Network: https://www.blackorchestralnetwork.org/ Advocacy for equity in orchestral settings, including addressing issues of harassment and discrimination. American Federation of Musicians (AFM): https://www.afm.org/ Union providing support and resources for musicians, including initiatives against harassment. Chicago Federation of Musicians' #NotMe App: https://cfm10208.com/musician-resources/fair-employment-practices-and-notme An app for reporting harassment within the music industry. Change the Culture Committee – Proposal Document: https://drive.google.com/file/d/13f_eQl2VEaRF1pxIKkdsUcJr4mEmNy87/view?usp=sharing Articles  Lara St-John & The Curtis Institute – Articles catalog: https://larastjohn.club/  Sammy Sussman – Articles catalog: https://sammysussman.com/reporting?fbclid=IwZXh0bgNhZW0CMTAAAR0KtQ42ZfE7azBHCTWlp5ErasRAyAYWAjrdzwBOPPPAJmlCZcmwnH3kAlQ_aem_ZmFrZWR1bW15MTZieXRlcw  A Hidden Sexual-Assault Scandal at the New York Philharmonic - Two musicians were fired for sexual misconduct. Why are they back with the orchestra?  https://www.vulture.com/article/new-york-philharmonic-sexual-assault-scandal.html Abused, then mocked- acclaimed violinist says she was sexually assaulted by her renowned teacher at the Curtis institute, and then disregarded when she reported it  https://www.inquirer.com/news/a/lara-st-john-sexual-abuse-jascha-brodsky-curtis-institute-philadelphia-20190725.html They Wouldn't Believe Me https://larastjohn.club/philadelphia-inquirer-subsequent-articles/they-wouldnt-believe-me-1 Top Music School Finds Sexual Abuse Allegations From Violinist 'Credible' https://www.npr.org/2020/09/23/916108440/top-music-school-finds-sexual-abuse-allegations-from-violinist-credible Investigative Report 2020 - Statement from the Curtis Institute Board of Trustees https://www.curtis.edu/about/institutional-policies/investigative-report-2020/ The evolution of #MeToo https://www.michigandaily.com/arts/evolution-metoo/?fbclid=IwZXh0bgNhZW0CMTEAAR01peoxpx0nkteuYsbKRI7YGmItXKk-AmiymMtHSLFyOkcfexxLq8UH0BY_aem_WbvxwAylau31GKIPEcDNvw Tainted History - Former Juilliard composition students share allegations of sexual harassment and misconduct https://van-magazine.com/mag/juilliard-sexual-harassment/?fbclid=IwZXh0bgNhZW0CMTEAAR1p_C22c0w4D-YFUyxca3r-uDaaHapH5Ef9Lwbfejr4S4toB0ImL5vZP8o_aem_JvRLjIQ8FxqIBJdzJXQfnA Cleveland Orchestra Fires Two Musicians for Sexual Misconduct https://www.nytimes.com/2018/10/24/arts/music/cleveland-orchestra-sexual-harassment-misconduct.html#:~:text=The%20accusations%20first%20surfaced%20in,and%20making%20a%20lewd%20advance.%E2%80%9D Calgary Philharmonic removes two musicians after month-long investigation over ‘troubling comments' https://www.theglobeandmail.com/arts/theatre-and-performance/article-calgary-philharmonic-removes-two-musicians-after-month-long/ Assaults in dressing rooms. Groping during lessons. Classical musicians reveal a profession rife with harassment. https://www.washingtonpost.com/entertainment/music/assaults-in-dressing-rooms-groping-during-lessons-classical-musicians-reveal-a-profession-rife-with-harassment/2018/07/25/f47617d0-36c8-11e8-acd5-35eac230e514_story.html Music professor retires from Rice following allegations of inappropriate conduct with female students https://www.houstonpublicmedia.org/articles/news/education-news/2024/05/29/488887/rice-william-vermeulen-allegations-inappropriate-conduct-female-students/ Demondrae Thurman no longer serving in Jacobs School of Music roles after sexual misconduct allegations https://www.idsnews.com/article/2024/05/demondrae-thurman-no-longer-serving-jacobs-school-of-music-sexual-misconduct-allegations Music's Perpetually Open Secret - 18 years after they were first reported, allegations of sexual harassment at the Butler School of Music have continued https://van-magazine.com/mag/open-secret/ Former students bring 40 years of misconduct allegations against SMTD professor - https://www.michigandaily.com/news/community-affairs/former-students-bring-40-years-misconduct-allegations-smtd-professor/ As sentencing nears for violinist, four women say he sexually abused them while at UNC school - https://www.charlotteobserver.com/news/state/north-carolina/article260382977.html Violin professor who taught around the world is charged with sex attack  https://www.independent.co.uk/news/uk/crime/royal-college-of-music-london-alfie-boe-south-africa-borough-b2285682.html James Levine's Final Act at the Met Ends in Disgrace  https://www.nytimes.com/2018/03/12/arts/music/james-levine-metropolitan-opera.html Opera Star David Daniels Pleads Guilty to Sexual Assault  https://www.nytimes.com/2023/08/04/arts/opera-star-david-daniels-guilty-plea-sexual-assault.html Royal College of Music investigating misconduct complaints https://www.thetimes.com/culture/music/article/royal-college-of-music-investigating-misconduct-complaints-8nhkp0qx6 Senior professor at Royal College of Music quits over health issues after complaints of gross misconduct upheld  https://www.dailymail.co.uk/news/article-13305193/royal-college-music-senior-professor-quits-health-issues-gross-misconduct.html

In this episode, Sasank Kalipatnapu (@ksasank), John Culhane and Leana Dogbe (@ldogbe4) sit down along with Dr. Dalman (@RLDalmanMD) as chair of the SVS Nominating Committee for this year, along with the two vice presidential candidates Dr. Harris and Dr Shaw to learn more about them as part of the ongoing election process.    Show links: SVS 2024 Meet the VP Candidates—Home Page—provides a comprehensive overview of all the candidates. Their professional biographies and answers to questions about their plans for the future are available in both text and video formats.   Show Guests: Dr. Linda Harris, Professor of Surgery at Jacobs School of Medicine and Biomedical Sciences, University of Buffalo, NY Dr. Palma Shaw, Professor of Surgery at State University of New York, Syracuse, NY Dr. Ronald L. Dalman, Elsa R. and Walter C. Chidester Professor and Division Chief Emeritus of Vascular Surgery at Stanford University, CA, Associate Dean for Market Development and Outreach for Stanford Medicine and Vice Chair for Clinical Affairs in the Department of Surgery    Follow us @audiblebleeding Learn more about us at https://www.audiblebleeding.com/about-1/ and provide us with your feedback with our listener survey.

brassmastery.com/bergmanWhen I first approached Jason Bergman about appearing on the Brass Mastery™ podcast, the first thing I asked him was, "What do you want to talk about?"It's always best to play to the strengths of your guests when one is doing a creative endeavor such as this.Jason replied he'd like to delve into the realm of self-care as it pertains to teaching brass instrumentalists.As professor of trumpet at the prestigious Jacobs School of Music at Indiana University, Jason has learned a thing or two on this topic (or one would assume), so I agreed to discuss this on the show, eager to hear what he has to say on the topic.The thing we ended up talking about the most is how shame affects our self-perception as musicians, hindering our musical output and progression - to the point some even get discouraged and leave music as a serious pursuit altogether.What is the root cause of this shame and deleterious effects it has on us? Jason opens up on some of his own setbacks as a performer and teacher, and shares some of the innovative teaching techniques he employs at IU to confront the many barriers we put up that inhibit our progress as musicians and play to the best of our ability. Episode highlights:-Brief rundown of Jason's academic career...03:00-Giving credit to impactful figures who don't seek the spotlight...05:15-One seemingly insignificant thing we say today may make a massive impact in the future...07:45-Jason's founding origins on trumpet and music...11:20-The students became the mentor...17:35-Self-awareness, and the need to care for one's self in order to best help those charged to our care...22:50-An examination of shame and how it affects our mindset and overall wellbeing as musicians...29:00-We get ourselves tied up in knots when we're thinking about the notes vs. the musical product...36:00-When you're "okay with being unokay" the mistakes magically dissipate...38:40-"A rising tide lifts all ships" i.e. when one succeeds, all succeed...41:40-Meat therapy, and how Jason decompresses during down time...46:10Resources mentioned:Brene Brown videosAbout the Guest:American trumpeter Jason Bergman was appointed Associate Professor of Music in Trumpet at the Indiana University Jacobs School of Music in 2022. He has performed throughout the United States, South America, Europe, and China. In 2008, Bergman was named Associate Principal Trumpet of the Santiago Philharmonic in Chile and more recently has been Principal Trumpet of the Mobile Symphony Orchestra and Mobile Opera. He has also performed with the Utah Symphony, Indianapolis Chamber Orchestra, Dallas Symphony, Dallas Opera, Fort Worth Symphony, and the Dallas Winds, including on their Grammy-nominated album featuring the music of John Williams. Additionally, Bergman has performed in concert with the Canadian Brass, Rhythm & Brass and with conductor David Robertson at Carnegie Hall as part of the Weill Music Institute. He also performed as a fellow at the Music Academy of the West. Bergman has given recitals and master classes at numerous institutions worldwide and has performed and presented at the Midwest Band and Orchestra Clinic, College Music Society, International Tuba and Euphonium Conference, Mississippi Bandmasters Association, Mississippi Music Teachers Association, Utah Music Educators Conference, International Trumpet Guild, and the Texas Music Educators Association Annual Convention. As a soloist, he has performed with the Royal Belgian Air Force Band, Garland Symphony Orchestra, Timpanogos Symphony, and the Beijing Central Conservatory of Music Wind Ensemble

In this podcast episode, Dr. Jonathan H. Westover talks with Roger L. Firestien about deliberate creativity and creative problem-solving. Roger L. Firestien, PhD (linkedin.com/in/rogerfirestien) has presented programs on innovation to over 600 organizations around the world including Fortune 500 corporations, government agencies, universities, associations, and religious institutions. His nine-part series on innovation is available on the OpenSesame e-learning platform. His latest books include Solve The Real Problem, Why Didn't I Think Of That? and Create In A Flash. He is Associate Professor Emeritus at the Center for Applied Imagination at Buffalo State University, President of Innovation Resources, Inc., a founding member of the Buffalo Society for Creativity in Medical Education, and guest lecturer at the Jacobs School of Medicine and Biomedical Sciences at the University at Buffalo, NY. For more information, please visit www.RogerFirestien.com  Check out all of the podcasts in the HCI Podcast Network! Check out the ⁠HCI Academy⁠: Courses, Micro-Credentials, and Certificates to Upskill and Reskill for the Future of Work! Check out the LinkedIn ⁠Alchemizing Human Capital⁠ Newsletter. Check out Dr. Westover's book, ⁠The Future Leader⁠. Check out Dr. Westover's book, ⁠'Bluer than Indigo' Leadership⁠. Check out Dr. Westover's book, ⁠The Alchemy of Truly Remarkable Leadership⁠. Check out the latest issue of the ⁠Human Capital Leadership magazine⁠. Each HCI Podcast episode (Program, ID No. 655967) has been approved for 0.50 HR (General) recertification credit hours toward aPHR™, aPHRi™, PHR®, PHRca®, SPHR®, GPHR®, PHRi™ and SPHRi™ recertification through HR Certification Institute® (HRCI®). Each HCI Podcast episode (Program ID: 24-DP529) has been approved for 0.50 HR (General) SHRM Professional Development Credits (PDCs) for SHRM-CP and SHRM-SCPHR recertification through SHRM, as part of the knowledge and competency programs related to the SHRM Body of Applied Skills and Knowledge™ (the SHRM BASK™). Human Capital Innovations has been pre-approved by the ATD Certification Institute to offer educational programs that can be used towards initial eligibility and recertification of the Certified Professional in Talent Development (CPTD) and Associate Professional in Talent Development (APTD) credentials. Each HCI Podcast episode qualifies for a maximum of 0.50 points.

The conference provided attendees with actions and solutions they can take back to their institutions. There's a burgeoning relationship between Michigan State University's College of Human Medicine and the University of Buffalo's Jacobs School of Medicine and Biomedical Sciences. The school's deans have brought the institutions together to advocate for a public health approach to reducing gun violence.  Aron Sousa, MD, FACP of MSU and Allison Brashear, MD, MBA of UB discuss their shared experiences with gun violence in their respective communities. They talk about how they originally came together on this subject and what led them to exchange students and begin an annual conference. And they define what they mean by a public health approach to reducing gun violence. Conversation Highlights: (0:56) – How did this “grass roots phenomenon” get started?  (5:31) – What do you mean by a public health-focused approach to gun violence? (6:58) – Talk about the February 2024 Remembrance Conference on campus and what came out of it? The 2025 conference will be in May in Buffalo. (9:25) – How can the public adopt this public health focus? The students are providing the energy. They're our doctors of the future. Overall wellbeing is crucial. (17:04) – What are key takeaways from this conversation? Listen to “MSU Today with Russ White” on the radio and through Spotify, Apple Podcasts, and wherever you get your shows.

We sat down with Sarah Wroth, Chair of the Department of Ballet at Indiana University's Jacobs School of Music, to hear all about IU's ballet program. University ballet programs are becoming an ever more viable means to a professional ballet career and IU is a leader is turning out well-trained and mature, employable dancers. Tune in to hear about the myriad opportunities that exist for IU ballet students including a huge performance schedule, the chance to choreograph on other students and the ability to add a second emphasis of academic study. Be sure to also check out IU's collaboration with Phil Chan, co-founder of Final Bow For Yellowface as the school stages a completely reimagined version of Petitpa's classic yet problematic, La Bayadère. This newly staged version, renamed, Star on the Rise: La Bayadère ... Reimagined, is sure to get people talking! Performances take place March 29 and 30 are available to watch online for free. Links: Star on the Rise Live Stream IU Jacobs School of Music  Ballet Help Desk Submit Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk

Classical music is pervasive and ubiquitous and yet for many people, it is difficult to connect with. We met one classical pianist who makes it her mission to connect with audiences and bring her joy of classical music to the masses. She is the extraordinary Jeeyoon Kim. a multi-hyphenate musician-author-blogger-podcaster-educator-and-performer. Our Athletes and the Arts founder Randy Dick caught up with Jeeyoon recently and he's here with her on our show today.For more on Jeeyoon, go to https://www.jeeyoonkim.comInstagram @jeeyoonkimpianistX: @jeeyoon_pianistFor Athletes and the Arts, go to www.athletesandthearts.comBio: Award-winning classical pianist Jeeyoon Kim has delighted audiences across the United States and the world with her combination of sensitive artistry, ‘consummate musicianship, impeccable technique, and engaging and innovative concert experiences.' (New York Classical Review)​From the start of her career, beginning with her celebrated 2016 debut album, 10 More Minutes, Jeeyoon has thrilled classical music fans with her artful performances. Through her unique performance presentations, Jeeyoon has connected with concert attendees decidedly younger than the average by engaging in musical conversations from the stage. Her second album and concert project, Over. Above. Beyond., further stretched the mold for classical piano performances by collaborating with New York-based artist Moonsub Shin. Jeeyoon's collaboration with the artist delivered a multimedia experience that was also captured in an award-winning music video. Kim's following project titled, 시음/si-úm/, began during her 2020 residency at the Banff Centre for Arts and Creativity for their 'Concert in the 21st Century' program. This concert project incorporates poetry and black and white photography. Jeeyoon's dedication to pushing the boundaries of traditional classical music to connect with a new audience has inspired a dedicated and passionate fanbase that defies conventional wisdom.Jeeyoon began studying the piano when she was just four years old, and her love of music propelled her through her undergraduate studies in piano performance in her native Korea. After moving to the United States, she received her Master of Music and Doctor of Musical Arts in Piano Performance with Distinction from Indiana University's renowned Jacobs School of Music.In pursuit of a deeper understanding of music education, she earned a second master's degree in piano pedagogy from Butler University, where she concurrently served as a faculty member. As a testament to Jeeyoon's abilities as an educator, she was recognized with the 'Top Music Teacher Award' from Steinway & Sons for three consecutive years, from 2016 to 2018.Jeeyoon is an author, educator, public speaker, podcaster, and award-winning performer. In 2021, she published her first book, Whenever You're Ready, offering readers a personal glimpse into her life. This self-help book in a concert-style structure shares wisdom and insights gained from Jeeyoon's musical experiences. After a successful reception throughout North America and Europe, the book was published in South Korea in 2022. The book, translated into Korean by the author herself, has made it to the top 3 best sellers in South Korea in the self-help category. Jeeyoon Kim currently resides in San Diego. Between a busy concert touring schedule, she happily practices her piano daily, maintains a studio full of dedicated piano students, and surfs each morning at sunrise.

ASCO: You're listening to a podcast from Cancer.Net. This cancer information website is produced by the American Society of Clinical Oncology, known as ASCO, the voice of the world's oncology professionals. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guests' statements on this podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement. Cancer research discussed in this podcast is ongoing, so data described here may change as research progresses. In this Meaningful Conversations podcast, Dr. Karan Jatwani talks to Dr. Amy Case about what people with cancer should know about hospice care, including the difference between palliative and supportive care and hospice care, who is eligible to enroll in hospice care, and the types of support available for people receiving hospice care and their family and caregivers. Meaningful Conversations is a Cancer.Net blog and podcast series that describes the important discussions people may need to have with their providers, caregivers, and loved ones during cancer and offers ways to help navigate these conversations. Dr. Jatwani is a Medical Oncology Fellow at Roswell Park Comprehensive Cancer Center. Dr. Case is the Lee Foundation Endowed Chair of the Department of Palliative and Supportive Care at Roswell Park Comprehensive Cancer Center, and Professor of Medicine at the Jacobs School of Medicine and Biomedical Sciences of the University at Buffalo. View disclosures for Dr. Jatwani and Dr. Case at Cancer.Net. Dr. Jatwani: Hi, everyone. My name is Karan Jatwani. I'm one of the 3-year fellows at Roswell Park Comprehensive Cancer Center. I have finished my palliative care fellowship from Memorial Sloan Kettering Cancer Center. And I am interested in the integration of oncology as well as palliative care, and that is where I envision my future career to be. And it's my pleasure to be involved in a podcast with Cancer.Net and looking forward to it. Dr. Case: Hello. My name is Amy Case, and I'm the chair of the Department of Supportive and Palliative Care here at Roswell Park Comprehensive Cancer Center, and we're in Buffalo, New York. So I appreciate being invited to speak today. And we also have a fellowship that we run here and a pretty comprehensive department with 8 divisions that include palliative, social work, psychiatry, psychology, spiritual care, bioethics, and geriatrics, and also employee resilience. So we have a lot of kind of passion projects we work on in our supportive care department. Dr. Jatwani: Thank you so much, Dr. Case, for joining us today. I think I've always admired your work. And just to start off, just for our listeners and our audience, if you can just give us a brief idea of what palliative care is, I think that would be the best segue to enhance the discussion. Dr. Jatwani: So “to palliate” means to make feel better. And when I talk to patients about what it is that we do, I talk about how we take care of the whole person, which includes the physical symptom management, the emotional support, which could include psychiatry, psychology, or social work support of the emotional piece. And then also the spiritual support, which often we work as a team. In order to be palliative care, you actually need to be a team. It can't just be one physician, for example, doing palliative. You need to work as a team. So generally, a core team consists of a physician, a nurse, a chaplain, a spiritual care professional, and a social worker at its core. But sometimes it can be a nurse practitioner providing that or other specialists helping on that team. Dr. Jatwani: I think one of the key questions that always arise with the patients is, as soon as you talk about palliative care, patients start equating it to death. How do you make sure that the patients you're interacting with, how do you differentiate it with them, and how do you relieve that anxiety whenever the patient hears “palliative care”? Dr. Case: So no matter what you call the work that we do, there will always be a stigma. So if we change the name to yellow banana, people would be afraid of yellow bananas, right? So I think that the word hospice has-- I joke that it's kind of like a 4-letter word type of situation. We call it “the H word.” Sometimes patients are really fearful to hear that word. And even now, palliative has adopted this stigma. So generally, what I do is I kind of say that it's focused on quality of life. The main goal is to help people feel better, live a better quality of life, to get through their cancer treatments. And I also educate them that people who receive palliative care tend to have better outcomes. Patient-reported outcome metrics are better. So patients often have a prolonged survival. They may be able to tolerate their cancer treatment better and get through those treatments. And that generally, I would say, is something that they're happy to hear. That's something that they're usually, "Yeah, sign me up for that." When we start with somebody-- we spend an hour with every patient for a new visit. When I start with them, they're really skeptical. Oftentimes, they're looking at me mistrustfully, like, "What is this?" And by the end of the visit, they say, "Where has this been from the beginning of my cancer journey? And why am I only getting this now? This was the best interaction I've had at this organization." And it's because we give them kind of what we call a “wrap-around care,” which is almost like a big hug. We use a lot of skills that include empathy. And with our communication, we often spend a lot of time listening. And I think people really walk out feeling heard. Even if you can't solve it or cure it, you can discuss things that can just make them feel that you were there for them and you listened. And that is very powerful. Dr. Jatwani: I 100% agree. I mean, that has been my sort of experience as well during my fellowship. I took a lot of those learnings with me when I see my patients. But also, I think coming from an oncology standpoint, I can definitely now understand that I have been at fault when I have not given that palliative blanket that you were talking about at different times. And so my question is, when can patients ask for palliative care? And we'll discuss “the H word,” as you mentioned at the beginning. So we'll discuss with that as well. But when should patients undergoing cancer treatment, when should they ask for involvement of palliative care, or they should advocate for themselves or even the caregivers should advocate? Dr. Case: Yeah. So I think that generally, palliative care, the beauty of palliative care is that it doesn't really have a time limit. Someone can ask for it anytime. And often, we encourage people right from the beginning. So there's people who may be looking for that extra added support right from the beginning. And so we usually encourage oncologists and the oncology teams to start those discussions themselves. Dr. Jatwani: And I think at this point of time, I would like to definitely ask you. I think you mentioned “the H word” in the beginning. So can we discuss a little bit more about what is hospice care? Dr. Case: So palliative care is provided on a trajectory. So it can be provided anytime, even for survivors, for people who are earlier in their diagnosis. But hospice has a timeline on it because it's actually a Medicare benefit that it's like almost like an insurance benefit that kicks in, but the government pays for the patient's care. And so in order to enroll or sign up for hospice, a patient has to have certain criteria in order to meet that. In order to get those things paid for. And so hospices have to—generally, it's when a patient has a life expectancy of 6 months or less, and they have decided that the cancer treatment, meaning chemotherapy, radiation in most cases, immunotherapy, the burden of that is higher than the benefit. Most of the patients who see us in palliative are still getting their cancer treatment, and we're helping them walk the journey with them through their treatment, helping them feel better, starting those conversations. And then we do something called a transition to hospice. So many of the patients we see in palliative end up transitioning to hospice. How is palliative care different than hospice? How is hospice different than palliative care? They're very similar. The philosophy of care and the way it's provided is almost exact, meaning that it's a team-based approach made up of physical, emotional, and spiritual support for the patient provided by a team. Although in palliative care, many times that's done in a clinic or an inpatient setting. There are home palliative programs that exist. We have one here at Roswell as well. But hospice, 80% of the time, is done at home. Because generally, when people prefer to pass away and we talk to them, where do they want to be at the end of their life? I'd say 95% of people do want to be at home if that's feasible. The biggest barrier that they are worried about dying at home is that they worry about being a burden on their loved ones. And so that's the way I frame those discussions, is that I ask them about what are the things that they're hoping for. What are the things that they're worried about? And when I find out, inevitably, like I said, it's probably the number 1 fear of people to be a burden on their loved ones. It's this wonderful thing that can reduce burden on family to help care for you and have you be at peace in the place that you wish to be. Dr. Jatwani: I 100% agree. I think you framed it perfectly that if the discussions-- I think, as you said, they should happen at the right time point. And the other thing is I think they should happen often. They should not happen only once. They should happen at every juncture of time when the cancer care has sort of transitioned into going into the more risk and less benefit window. And that's a spectrum, as you mentioned. It does not have to happen only once, and the provider feels, “OK, I've done that discussion. Now I don't have to do it again.” Dr. Case: It's a journey. Dr. Jatwani: It's a journey, yes. Dr. Case: I think we always talk about a journey and that advanced care planning does not happen, excuse me, just once in the trajectory. It happens over multiple time points. And I call it “loosening the lid,” where the lid is often on really tight. There's maybe often mistrust of the health care system. People are really scared. And you really need to give them that emotional support. And that's why palliative is so beautiful because we provide them that wrap-around hug when they're feeling at their most vulnerable. And then when they have comfort with us, then it's much easier to discuss these really tough topics. And I think establishing rapport, getting to know them as a human being and who they are is extremely important. So, for example, my style is to start any medical visit with a social interaction and asking them about themselves socially. I say, “Let's put the cancer aside. I want you to tell me about you. Tell me about your family. Tell me about the things that you enjoy doing for fun.” And they often laugh because they want to talk just about the cancer, right? They say, “I don't have fun anymore.” And then I try to ask them about the things they did before they had cancer. And you see them light up, and you see the rapport being built, and you see the trust. And once you have those types of relationships, these discussions become much easier. Dr. Jatwani: I agree. So just to transition a little bit more about hospice care, I think you talked about that this hospice care is a Medicare benefit. Can you tell our audience, is it only at home or is it available inpatient as well? And can you speak a little bit about that? Dr. Case:  Sure. So I mentioned before that generally, the majority of hospice care is preferred to be in the home, and really taking care of someone at the end of life actually can be less scary when you have the support of hospice. And so anyone who's in the hospital where a discussion is had and then advanced care planning is done, and they say, “You know what? I don't want to end up being on a ventilator. I'm going to elect to be a, “do not resuscitate or allow natural death.'" If that happens, I actually think it's almost imperative for hospice to also be consulted and offered. Because if you send someone home that is a “do not resuscitate” without those family support in place, the family will struggle. And so I think that it goes hand in hand. So dying at home goes hand in hand with having hospice in place. End of story. You need to have those supports in place. I do not think it will work out well for the family if you do not. And so there are rare circumstances where some physicians provide that support or home palliative can provide that support. But hospice really is the gold standard. So I'd say most of it is in the home. But once someone enrolls in hospice, there is caveats where if a patient is having uncontrolled symptoms that are not managed by the nurses in the home and the physicians by phone or by home visit, that the patient may be able to be brought in to an inpatient hospice unit or a hospital. They can unelect—to come off of, or unenroll—in hospice. For example, they change their mind. They decide, oh, they fall they break a hip, OK? And hospice is not going to fund a non-cancer-related hip fracture repair. So they would have to unenroll from that Medicare benefit, hospice Medicare benefit, and enroll in a different part of their insurance. And it's very easy to enroll and unenroll. And so there are different parts of that Medicare benefit that pay for different things. And so if somebody gets a hip fracture, it doesn't mean they have to not have it repaired. I mean, so you adjust and unenroll them from hospice, get the hip repaired, and then enroll them back in the hospice. And so those types of things can totally be done. It doesn't mean the patient can never come back to the hospital. It doesn't mean they can't change their mind. It doesn't mean that if, say, they get pneumonia, that they can't have their pneumonia treated. So simple infections, like Clostridium difficile (C. diff), pneumonia, the hospice actually gives antibiotics. They manage a lot of medical treatments like anticoagulation and things like that. So there are, depending on the hospice, leeway with some of those medical treatments. For example, total parenteral nutrition (TPN), percutaneous endoscopic gastrostomy (PEG) tubes, some of those things can be managed in hospice. However, if a PEG tube or a TPN is causing more burden, they will continue to have those discussions about, is this treatment in the best interest of comfort and quality of life? And so that's generally the philosophy of care. And so, yes, they can be inpatient. There can be coming back to the hospital. And there are hospice inpatient units kind of all over the country. Some cities may not have hospice inpatient units, and they have other things like something called a “comfort home,” where comfort homes are depending on the area, the region that you live. Comfort homes exist in some cities where they're run by volunteers, and a patient may not be able to be at home, but they can go to a comfort home. Sometimes hospice can be provided in an assisted living where a patient's home is actually not home, it's in a facility or it can be provided in a nursing home. However, I think there's a misperception that hospice pays for the room and board of those places, and that is actually not true. So if someone needs a facility to live, then the family or the patient is on the hook, unfortunately, for the room and board. And so a lot of times, that delays discharge. So, for example, family does not want to take that patient home. They are not able to do that. The patient then needs a facility with hospice. The assumption is the hospice will pick up the bill of the facility. So that does not happen. But hospice covers all of the costs related to the care of the patient that's related to their hospice diagnosis. Dr. Jatwani: For patients who are living alone, who are in the elderly population, who are undergoing cancer-directed treatments, for those patients, is hospice an option? If it is, because that is always a challenging area that we face, how do you deal with those patients? Dr. Case: That's very challenging. Generally, we would call on social work and some of those specialties to help us figure out a support care network for that patient. And so often, you can actually recruit folks to take shifts coming in and checking on that patient. And so, yes, you can have hospice care for a patient who has a care-- generally, you need to have a caregiver who is around for that patient. Ideally, in an ideal world, there's somebody with that patient 24/7 when the patient is really ill. If the patient is pretty functional and they're on hospice, walking around, there may be some hours out of the day where they may not need someone with them. And really, we kind of determine that on a case-by-case basis. I would say it's not a door-shut situation that if someone lives alone, they could never have hospice. I would not say that. But in an ideal world, we do need to recruit someone to be there with the patient. If someone has absolutely no one to be there with them during hours during the day, which I think is pretty rare, then generally, if the person is too ill to stay home alone, it'll be a conversation that you have with that patient that they may be moved to a higher level of care, meaning that they may need a skilled nursing facility with hospice on board coming in and checking on them. That's their new home, or they may need an assisted living. And there are some facilities that provide their own hospice, meaning that if you go to that facility, they have a team that's built into that facility that provides them the end-of-life care at the facility, and they don't allow in external hospices. So it kind of depends on your area where you're practicing and asking those questions as, "Do you have an external hospice or do you provide hospice services internally?" And those are questions I often steer patients to ask. Dr. Jatwani: Just some parting thoughts on in terms of, as you said, hospice has a very selective criteria. And some patients might say, "How can you prognosticate me for living less than 6 months?" That's a challenging question that we often get. And I think you have answered it partly, that it's enroll “on and off switch” kind of situation. But what if a patient starts feeling much, much better on hospice and they feel that they want to come back and get cancer-directed treatment, how does palliative care and hospice care come into that domain? Dr. Case: Prognostication, when a physician is asked to prognosticate a patient, we call it “the art of prognostication” because you can't always look it up in a textbook and get the right answer. And what one physician may determine is a prognosis for a patient, another one may give a different one. Because we look at the same things, but a lot of times, there's a clinician estimate that comes into it that is really one of those, you put a bunch of facts together and you come up with what we call an estimate. And so sometimes, we may be correct. Sometimes, we may underestimate or we may overestimate. If a patient enrolls in hospice and they, for example, are doing a lot better, they're outliving the 6 months, the hospice programs often reevaluate those patients, and they do allow folks to stay enrolled with hospice care sometimes quite longer than the 6 months. Sometimes, people are on hospice a year or even longer. What they need to document is that the patient has an ongoing need where they need the multi-disciplinary team supportive care. And so as long as you meet certain criteria, and generally, the criteria are often that they have the continuing progression of the cancer or whatever the other medical illness is, the disease itself, and advancing illness, whether that be chronic obstructive pulmonary disease (COPD), congestive heart failure (CHF). It doesn't have to just be cancer. And you need to also have often a documentation of potentially continued functional decline or functional impairment. So prognosis is tied hand in hand with functional status. And so we don't just look at the computed tomography (CT) scan when we're determining prognosis. We look at nutritional. We look at weight loss. We look at appetite. We look at functional status and comorbidities. And there's a lot of other things that go into that, not just, “Is the tumor growing on the scan, yes or no?” So it's really important to look at a wide array of things when we're determining prognosis. Dr. Jatwani: Yes. And I think that sort of I just wanted to give our patients some idea of how we determine. I know there are a lot, many things that we have not covered, and we haven't even touched the expertise of Dr. Case, which we hope to do that in the future. And from my end, these are the questions that I had. And we hope to reconnect soon Dr. Case, and get some more insights into other aspects of palliative care, which you have done a lot of wonderful work in. Dr. Case: Thanks, Dr. Jatwani. ASCO: Thank you, Dr. Jatwani and Dr. Case. Find more podcasts and blog posts in the Meaningful Conversations series at www.cancer.net/meaningfulconversations. Cancer.Net Podcasts feature trusted, timely, and compassionate information for people with cancer, survivors, and their families and loved ones. Subscribe wherever you listen to podcasts for expert information and tips on coping with cancer, recaps of the latest research advances, and thoughtful discussions on cancer care. And check out other ASCO Podcasts to hear the latest interviews and insights from thought leaders, innovators, experts, and pioneers in oncology. Cancer.Net is supported by Conquer Cancer, the ASCO Foundation, which funds lifesaving research for every type of cancer, helping people with cancer everywhere. To help fund Cancer.Net and programs like it, donate at CONQUER.ORG/Donate.

SynopsisIt's a play both Aaron Copland and Leonard Bernstein wanted to make into an opera, but the playwright always said, “No.”We're talking about Our Town, by Thornton Wilder, a nostalgic but bittersweet look at life, love and death in Grover's Corners, New Hampshire, set in the early 1900s, complete with white picket fences, boy meets girl, and a drugstore soda counter.It wasn't until decades after Wilder's death in 1975 that the executor of the Wilder estate, after a long search for just the right composer for an Our Town opera, settled on Ned Rorem, and a libretto crafted by poet J.D. McClatchy, who also happened to be an authority on Wilder's works.Rorem was in his 80s when the opera premiered on today's date in 2006 at the Opera Theater at the Jacobs School of Music in Bloomington, Indiana.The New York Times thought the resulting opera was a success, writing, “Our Town opens with a hymn, and Rorem retained and refracted the familiar melody, turning pat modulations slightly bitter, as if the music were heard through a lens of nostalgia that turned it sepia. This nostalgia proved a hallmark of the score.”Music Played in Today's ProgramNed Rorem (b. 1923): Opening, from Our Town; Monadnock Music; Gil Rose, cond. New World 80790

Richard Antoine White (RAW Tuba) is principal tubist with the New Mexico Philharmonic, principal tuba of the Santa Fe Symphony, and a full professor of tuba at the University of New Mexico. But for more reasons than those, he has been an inspiration for those of us familiar with his life and work. For the first four years of his life, he was homeless and living on the streets of Baltimore, yet today his life is one of success and giving. If you don't know of him, I think you will find his story incredibly inspirational.In Part 1, I ask Richard to speak of his early life, first growing up on the streets of Baltimore, then being adopted by his grandparents at the age of four, learning the tuba and entering the Baltimore School for the Arts, and finally studying with David Federle at the Peabody Institute, followed by studies with Daniel Perantoni at the Jacobs School of Music at Indiana University, where he was the first African American tubist to earn a doctorate.[Subscriber Content] In Part 2, we follow Richard's journey as he won a spot with the New Mexico Symphony and then, when the orchestra failed, helped to found the New Mexico Philharmonic, of which he is still a member. I ask him about his amazing project, the RAW Tuba Ranch, which will be open for people from the age of 5 to 100. I also ask him about his participation in the Slavery Reenactment project, which changed his view on life. Throughout our conversation, Richard talks about his philosophy of life and his appreciation of hard work. "The best part about every day is that you're not done yet."Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Here is Robert Dvorkin's website! www.robertdvorkin.comRobert Dvorkin loved music and studied it at a high level when he was a young man. To pay the bills, Robert entered into a career in IT and continued to enjoy the piano, practicing and performing. Through a variety of circumstances, Robert moved back to Canada from New York City for his work in IT and came to a place where he wanted to get back into music full-time. As he had been studying the Taubman Approach with John Bloomfield since 2000, he was able to be certified in the Taubman Approach and is only one of three Canadians currently certified in this work. This episode frames the incredible journey of Robert in his love for the piano and teaching. He gets to the heart of why teaching this work is so important. People need music! I also want to say, the learning process is explored and some key insights into the work is discussed. Here is a bit more about Robert:I grew up Edmonton, AB, where I began to study piano at the age of nine. For five years, until I was 17, I studied with Ernesto Lejano. Dr. Lejano taught at the University of Alberta, but had a few private students, and I was privileged to be among them. He imbued me with a love for music that continues to this day.From there I went to the Indiana University School of Music (now the Jacobs School of Music at Indiana University), studying primarily with Enrica Cavallo-Gulli. Maestra Gulli was a consummate musician, both as a soloist and as a partner in the Duo Cavallo-Gulli with her husband, violinist Franco Gulli. It was under her tutelage that I grew as a musician. I graduated from Indiana University with Bachelor and Master of Music degrees in piano performance. In 1988 I moved to New York City, where I lived for the next 25 years.While in New York, I taught and concertized in both the United States and Canada. In 1999 I began studying with John Bloomfield, who remains my teacher to this day. With John I intensified my study of the Taubman Approach, which I describe in detail here. I am certified to teach the Taubman Approach as an Associate of the Golandsky Institute, one of only three Canadians to have been so-honoured.In 2014 I repatriated to Canada, settled in Ottawa, and built a teaching studio out of my home in the Copeland Park neighbourhood. I continue to concertize, lecture, and teach privately. I teach practical piano as well as theory and harmony. I am currently accepting students from intermediate to advanced levels. Whatever your musical goals are, I know I can help you achieve them. Please feel free to get in touch!The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

Named 2023 Top Doc by Best in Illinois, Dr. Ephraim is the Founder, Medical Director & principal medical provider of Allure Pelvic Wellness and Aesthetic Gynecology in Deer Park, Illinois. She strives to empower women with education and knowledge so they can confront their feminine health conditions head-on and seek treatment—without shame or embarrassment Specifically qualified to provide the full spectrum of female healthcare, some of her special interests include stress urinary incontinence, pelvic floor reconstruction, overactive bladder, pelvic organ prolapse, vaginal atrophy, painful intercourse, menopause, Lichen sclerosus, cosmetic gynecology, and sexual dysfunction. Proud to serve women in all stages of life, the goal at Allure is to take care of the whole woman, to critically assess what is compromising her health and wellness, and to offer an individualized treatment plan that will optimize health, improve confidence, and bring back joy through improved quality of life.Dr. Ephraim graduated with her Bachelor of Arts degree in Biology from the State University of New York College in 2001.  She then earned her medical degree from the Jacobs School of Medicine and Biomedical Sciences of the University at Buffalo in 2006. Furthering her training, Dr. Ephraim performed her residency in obstetrics and gynecology at Rush University Medical Center in 2010. She practiced as a general OB/Gyn in Rockford, Illinois for over 4 years before deciding to complete a fellowship in female pelvic medicine and reconstructive surgery at St. Luke's University Health System in Allentown, Pennsylvania.With over two decades of surgical experience, Dr. Ephraim offers both surgical and non-surgical treatments for comprehensive pelvic wellness and aesthetic gynecology. She is passionate about delivering superior healthcare experience for women and helping them live confident, fulfilling lives. With a passion for teaching, Dr. Ephraim speaks on topics of women's health for different organizations, most recently for the Forum for Executive Women. She is also a social media content creator for WebMD.“I believe strongly in patient education. I take a lot of time explaining to my patients and their loved ones what the pathophysiology of their defect is. A lot of women present to me are quite scared of not only what is happening to their body, but also of consequences and treatment. I try to alleviate that fear through education. While surgery is an option for many women, it can be done in a minimally invasive way and oftentimes it is not a necessity. Often, I can offer more conservative treatment options to relieve symptoms.”www.allurepelvicwellness.comFacebookInstagramTikTokYouTube*******************I recommend checking out my comprehensive pelvic health education and fitness programs on my Buff Muff AppYou can also join my next 28 Day Buff Muff Challenge https://www.vaginacoach.com/buffmuffIf you are feeling social you can connect with me… On Facebook https://www.facebook.com/VagCoachOn Instagram https://www.instagram.com/vaginacoach/On Twitter https://twitter.com/VaginaCoachOn The Web www.vaginacoach.com

Tara Javidi, an Electrical and Computer Engineering professor at UC San Diego's Jacobs School of Engineering discusses her research in artificial intelligence and large scale wireless networks. Series: "Science Like Me" [Science] [Show ID: 39163]

Tara Javidi, an Electrical and Computer Engineering professor at UC San Diego's Jacobs School of Engineering discusses her research in artificial intelligence and large scale wireless networks. Series: "Science Like Me" [Science] [Show ID: 39163]

Tara Javidi, an Electrical and Computer Engineering professor at UC San Diego's Jacobs School of Engineering discusses her research in artificial intelligence and large scale wireless networks. Series: "Science Like Me" [Science] [Show ID: 39163]

Tara Javidi, an Electrical and Computer Engineering professor at UC San Diego's Jacobs School of Engineering discusses her research in artificial intelligence and large scale wireless networks. Series: "Science Like Me" [Science] [Show ID: 39163]

As a young child, Andy Chalif had to become incredibly sensitive to the emotions of others in an attempt to evade the wrath of his disturbed and abusive father. He found solace in the presence of his mother, but when he was 18, she fell victim to a fatal accident at the hands of a drunk driver. He fled the United States, embarking on a decades-long journey that led him through the business world and eventually into a monk-like existence where he ultimately found his life's purpose – helping people who have experienced trauma to transform through the power of self-love. Andy Chaleff is an award-winning author, advisor, and the Director of Amsterdam's Welvaren training center. As a mentor to business leaders around the globe, Andy's life work helps people connect with themselves and others through vulnerability and self-awareness.In this episode, Dart and Andy discuss:- How to build authentic connections at work- Differentiating between respect and trust- Breaking cycles of distrust in the workplace- When expectations can be blindsiding  - Techniques for turning a negative interaction into a constructive one - Finding agency within a system- The importance of intention- And other topics…Andy Chaleff is an award-winning author, private mentor, and advisor to business leaders around the globe. He also serves as Director of Amsterdam's Welvaren training center. Some of his past clients include eMindful, InnerExplorer, SOLE, the Cleveland Municipality School District, and the Jacobs School of Music at Indiana University. Andy's life's work aims to help people connect with themselves and others through vulnerability and self-awareness. This objective is also reflected in his latest books, The Connections Playbook, The Wounded Healer, and The Last Letter. Resources mentioned:The Connections Playbook, by Andy Chaleff: https://www.amazon.com/Connection-Playbook-Meaningful-Harmonious-Relationships/dp/B0CGGDS6KT The Wounded Healer, by Andy Chaleff: https://www.amazon.com/Wounded-Healer-Journey-Radical-Self-Love/dp/B08NWJ3KPX The Last Letter, by Andy Chaleff: https://www.amazon.com/Last-Letter-Embracing-Create-Meaningful/dp/1633937054 Radical Candor, by Kim Scott: https://www.amazon.com/Radical-Candor-Revised-Kick-Ass-Humanity/dp/1250235375 Connect with Andy:www.andychaleff.com 

In this episode, The Mentors Radio Host Tom Loarie talks with Al Pisano, Dean of the University of California San Diego (UC San Diego), Jacobs School of Engineering, about technology, trends in technology, trends in STEM education and where the demand for engineers will be the greatest over the next decade. Dr. Pisano, a highly accomplished mechanical engineer, has been in the UC system for more than 41 years, the last 11 years as Dean of the Jacobs School of Engineering. Under Dr. Pisano's leadership the school exploded in growth from 5,800 students to 9,000, making it the largest public engineering school in the nation and ranked as one of the best engineering programs in the country. He raised nearly $400 million for the school and expanded its research from computer chips to earthquake-proof buildings, to flying taxis. Pisano is listed as a co-inventor on more than 20 patents, has authored or co-authored more than 190 archival publications and founded and co-founded 10 start-ups in Medtech and Tech. A co-founder of 10 companies, Pisano is dedicated to translating engineering breakthroughs for the benefit of society. In 2000, for example, he co-founded Mercator MedSystems with UC Berkeley doctoral student Kirk Seward in order to commercialize their MEMS-enabled breakthrough in medical device design and manufacturing. Today, the company's medical devices are used around the world to deliver drugs, stem cells and other therapies to tissues at precise locations deep with the body. What's next? In this episode Dr. Pisano talks about the future of engineering, key trends in technology and cutting edge technology. For those considering a career in engineering, the future looks bright, plentiful and fascinating! For the rest of us, there's plenty to glean from this lively, innovative conversation. Listen to episode below, or on ANY PODCAST PLATFORM here. We are GRATEFUL for YOUR review(s) on Apple Podcasts and Spotify!! THANK YOU!! Please share with friends and colleague— Let the world know! SHOW NOTES: AL PISANO, PhD: BIO: https://jacobsschool.ucsd.edu/news/release/1387 https://jacobsschool.ucsd.edu/about/leadership/dean/albert-pisano MENTIONED IN EPISODE: "Stream Your Learning" at UC San Diego's Jacobs School of Engineering WEBSITE: https://jacobsschool.ucsd.edu/

BUFFALO, NY- November 15, 2023 – A new #researchpaper was #published on the #cover of Aging (listed by MEDLINE/PubMed as "Aging (Albany NY)" and "Aging-US" by Web of Science) Volume 15, Issue 21, entitled, “Longitudinal characterization of behavioral, morphological and transcriptomic changes in a tauopathy mouse model.” Neurodegenerative disorders, such as Alzheimer's disease (AD), have the gradual onset of neurobiological changes preceding clinical diagnosis by decades. In their new study, researchers Qing Cao, Manasa Kumar, Allea Frazier, Jamal B. Williams, Shengkai Zhao, and Zhen Yan from the State University of New York at Buffalo's Jacobs School of Medicine and Biomedical Sciences aimed to elucidate how brain dysfunction proceeds in neurodegenerative disorders. “[...] we performed longitudinal characterization of behavioral, morphological, and transcriptomic changes in a tauopathy mouse model, P301S transgenic mice.” P301S mice exhibited cognitive deficits as early as 3 months old, and deficits in social preference and social cognition at 5–6 months. They had a significant decrease of arborization in basal dendrites of hippocampal pyramidal neurons from 3 months and apical dendrites of PFC pyramidal neurons at 9 months. Transcriptomic analysis of genome-wide changes revealed the enrichment of synaptic gene upregulation at 3 months of age, while most of these synaptic genes were downregulated in PFC and hippocampus of P301S mice at 9 months. These time-dependent changes in gene expression may lead to progressive alterations of neuronal structure and function, resulting in the manifestation of behavioral symptoms in tauopathies. “In conclusion, our longitudinal characterization of behavioral, morphological and transcriptomic changes in a tauopathy mouse model is to elucidate potential mechanisms that drive the progression of AD and related neurodegenerative disorders. Manipulation of key molecular players coupled with electrophysiological measurements of neuronal functions in future studies will help identify early intervention strategies for these diseases.” DOI - https://doi.org/10.18632/aging.205057 Corresponding author - Zhen Yan - zhenyan@buffalo.edu Sign up for free Altmetric alerts about this article - https://aging.altmetric.com/details/email_updates?id=10.18632%2Faging.205057 Subscribe for free publication alerts from Aging - https://www.aging-us.com/subscribe-to-toc-alerts Keywords - aging, Alzheimer's disease, tau, cognitive behaviors, transcriptomic, neuronal morphology About Aging-US Launched in 2009, Aging-US publishes papers of general interest and biological significance in all fields of aging research and age-related diseases, including cancer—and now, with a special focus on COVID-19 vulnerability as an age-dependent syndrome. Topics in Aging-US go beyond traditional gerontology, including, but not limited to, cellular and molecular biology, human age-related diseases, pathology in model organisms, signal transduction pathways (e.g., p53, sirtuins, and PI-3K/AKT/mTOR, among others), and approaches to modulating these signaling pathways. Please visit our website at https://www.Aging-US.com​​ and connect with us: SoundCloud - https://soundcloud.com/Aging-Us Facebook - https://www.facebook.com/AgingUS/ Twitter - https://twitter.com/AgingJrnl Instagram - https://www.instagram.com/agingjrnl/ YouTube - https://www.youtube.com/@AgingJournal LinkedIn - https://www.linkedin.com/company/aging/ Pinterest - https://www.pinterest.com/AgingUS/ Media Contact 18009220957 MEDIA@IMPACTJOURNALS.COM

In this episode we are talking with Brice Smith! We have a great conversation about being vulnerable online, putting yourself out there, and ultimately having an amazing relationship with music and your instrument. Follow them on IG! @celestialfluteDr. Brice Smith has a deep passion for teaching and engaging communities through classical music. Smith held the Las Colinas Symphony Orchestra's principal flutist position and is a substitute for the Seattle, Milwaukee, Dallas, and Colorado symphonies. Additionally, Smith has performed with the New World Symphony Orchestra, 21st Century Consort, ÆPEX Contemporary Ensemble, and National Repertory Orchestra. Smith served as an Adjunct Professor of Flute at Adams State University and Assistant Artistic Director for Indiana University's Jacobs School of Music Flute Academy. As a soloist, he has performed at the John F. Kennedy Center for the Performing Arts, Longmont Symphony, Arkansas Philharmonic, University of Michigan Camerata Symphony Orchestra, 21st Century Consort, as well as other orchestras and bands. Additionally, Smith was a guest soloist for the National Flute Association's 50th Anniversary Convention Celebration, premiered solo flute works for the NFA Summer Series and the Gabriela Lena Frank Creative Academy of Music's "Gig Thru COVID."Additionally, Smith was a guest Gala performer for the 51st and 52nd NFA Convention. He is a founding member of the Boulder Altitude Directive (BAD Ensemble), a new music ensemble conducted by composer Dr. Carter Pann. Smith is a Trevor James Alto & Bass Flute Artist and Recording Artist for Alry Publications LLC. and the American Composers Alliance Inc.Smith has a rich and wide-ranging set of experiences in teaching, recruitment, scholarly research, and publication. He has given presentations and taught masterclasses and lessons for several institutions and universities, including his alma mater, the University of Arkansas, and the Boston University Tanglewood Institute. During his D.M.A., Smith served as Artistic and Development Assistant for the Crested Butte Music Festival and Graduate Assistant and Student Engagement Specialist for the Entrepreneurship Center for Music director at the University of Colorado Boulder. Administratively, he has served as an executive board member for the Texas Flute Society, multiple NFA committees, Repertoire Specialist for Rachel Barton Pine's "Music By Black Composers" Organization,  Artistic Representative for Rollopollolo Press, and Assistant Artistic Administrative Director for CBMF, and Music Librarian for the Napa Valley Music Festival. As a competition adjudicator, he has served multiple panels, including the 2022 TFS Myrna W. Brown competition, NFA Alto Flute Artist Finalist Competition, 2021 NFA Junior Soloist competition, University of Iowa School of Music, and San Francisco Flute Society competitions.Smith completed a Doctor of Musical Arts in Flute Performance and Pedagogy at the University of Colorado Boulder with Christina Jennings, Masters of Music in Flute Performance and Chamber Music at the University of Michigan with Amy Porter, as well as a Performer Diploma at Indiana University under the direction of Thomas Robertello. Smith studied with Ronda Mains at the University of Arkansas, where he completed a Bachelor of Music in Flute Performance, Violin Performance and German language. Dr. Brice Smith is published in the July 2020 issue of the Flute View magazine for his article "Beauty With Intention: Expanding the Wealth of Flute Repertoire."If you enjoyed this episode, or you have been enjoying this podcast, tell a friend about it! I'd love to spread the word! Book a Preliminary Coaching Call! CLICK HERE Rate and Review on Apple Podcasts!

On October 4th, 1951, Henrietta Lacks, an African-American woman ceased to be after losing her battle with cervical cancer. But the legacy and story of Henrietta Lacks is one that still remains far after her time here on Earth. Henrietta is the source of what's called HeLa cells – “immortal cells” that have been the basis for some of the most pivotal medical breakthroughs of our time. How those cells were cultured is another story. Pastor George Nicholas joins us to discuss the lasting impact of Henrietta Lacks – the subject of this year's Igniting Hope conference at UB's Jacobs School of Medicine and Biomedical Sciences.

Meet Dr. Maggie Abraham, a board-certified Obstetrician and Gynecologist holding the prestigious American Board of Obstetrics and Gynecology (ABOG) specialty certification in Pediatric and Adolescent Gynecology. She earned her Doctor of Medicine degree from Trinity College Dublin in Ireland.Her journey continued with a rigorous obstetrics and gynecology residency at Jacobs School of Medicine and Biomedical Sciences University in Buffalo, New York, followed by a specialized fellowship in pediatric adolescent gynecology at Washington University in St. Louis. Dr. Abraham's commitment to advancing her knowledge led her to obtain a Master of Science in Clinical Investigation from the University of Louisville.Dr. Abraham is an active member of the American College of Obstetricians and Gynecologists and the North American Society of Pediatric and Adolescent Gynecology. She has contributed significantly to these organizations, serving on various committees, including the ACOG Adolescent Health Committee, for over a decade.Originally from Ireland, Dr. Abraham relocated to the United States in her early twenties, following her American boyfriend, a decision she considers the best she's ever made. After training in four different states, she and her husband settled in Orlando, Florida, along with their four children and beloved dog, Odin.Her passion for pediatric and adolescent gynecology blossomed during her tenure as a young attending at the University of Florida. Dr. Abraham witnessed countless teenagers and college students seeking help for gynecological issues that had long been overlooked. This experience shed light on the unfortunate lack of awareness surrounding gynecological conditions in adolescents, leaving them suffering without proper diagnosis or treatment.Driven by a desire to make a difference, Dr. Abraham dedicated her practice to addressing the unique gynecological needs of young people. Before establishing the GYN space, she enjoyed a fulfilling clinical practice for over 12 years.Dr. Maggie Abraham is here to provide expert care and support for pediatric and adolescent gynecological concerns, ensuring a brighter and healthier future for young individuals.---------------------Check out the My DPC Story RESOURCE PAGE HERE!Find a DPC checklist on how to start your own DPC, DPC conference recordings, and more!---------------------LISTENER'S GUIDE!1) RATE and REVIEW our podcast on Apple Podcasts.2) Take a screenshot ***BEFORE you hit submit*** of your review and then email it to support@mydpcstory.comand you'll find the Listener's Guide in your inbox!---------------------HELP FUND THE PODCAST!CLICK HERE to Support the show-------Click the link below to learn more about the Hint's website builder and Elation Health:Hint's Website Builder link: HEREElation Health: HERESupport the showVisit the DPC SWAG store HERE!Let's get SOCIAL! Follow My DPC Story! FACEBOOK * INSTAGRAM * LinkedIn * TWITTER * TIKTOK * YouTube

Step into the powerful realm of MRI imaging, providing us with an unparalleled view of multiple sclerosis. Discover how acute inflammation becomes vivid with contrast, and how various MRI sequences unveil the past battles fought within your brain and spinal cord. We'll explore advances in techniques, revealing brain shrinkage, gray matter disease and myelin repair. Understand the impact of MS on brain processing efficiency during rest and specific tasks through functional MRI imaging. Crucial questions regarding where and how often to get MRI scans are addressed. Latest guidance on avoiding contrast for routine MRI monitoring in MS shared. Barry Singer MD, Director of The MS Center for Innovations in Care, interviews: Christina Azevedo MD, Assistant Professor of Clinical Neurology at the University of Southern California Robert Zivandinov MD, PhD, Director of the Buffalo Neuroimaging Analysis Center & Professor of Neurology at Jacobs School of Medicine and Biomedical Sciences at the University at Buffalo, State University of New York.

If you were to make a word cloud based on this episode of Raise the Line, community would be the most prominent term.  For starters, Dr. Allison Brashear was attracted to Buffalo for its reputation as a welcoming community -- a city of good neighbors, as she puts it -- which reminded her of her roots in the Midwest.  She was also encouraged that the University at Buffalo Jacobs School of Medicine already had a well-established reputation as a community partner.  And, as she tells host Derek Apanovitch, she has seen the impressive strength of the Buffalo community in the wake of the deadly, racially motivated shooting at a supermarket last May. Part of the school's response to that tragedy has been developing an anti-racist curriculum and focusing students on addressing health inequities. “There's an elective where students can go provide healthcare in the neighborhood, so they actually kind of walk in a patient's shoes... because if you don't understand the social determinants of health of your patient, then you're not going to be able to make a difference.” Brashear adds that the school's wide variety of partners -- from the VA to community-based primary care clinics -- further enriches the educational experience. “There's a wealth of opportunities to learn here in Buffalo, and that's one of the things that makes it really great.” You'll also learn about Brashear's efforts to boost the number of graduates who stay in the region to practice medicine, the University's research strengths, and her own work as an internationally renowned researcher in several rare neurologic disorders in this in-depth conversation.Mentioned in this episode: medicine.buffalo.edu/atp1a3 

Dominic Lim is back on the show this week! Dom is an author, singer, & storyteller. His debut novel All the Right Notes was named by Entertainment Weekly as one of the best new books of the summer. Dom is a member of the Writers Grotto and a co-host of the Babylon Salon reading and performance series in San Francisco. He studied psychology at Oberlin and got his masters from Indiana University's Jacobs School of Music. As a proud member of the Actors' Equity Association he's performed Off-Broadway and in regional productions throughout the US. You can check out Dominic at dominiclim.com, and his book ⁠ALL THE RIGHT NOTES⁠ is available now, wherever books are sold! Are you a high achiever, a leader, or an Ampersand who's recently taken on more responsibility at work? Jessica works with people just like you. She coaches individuals and leadership teams to rise to new challenges - with a unique blend of analytical & creative approaches, plus 18 years of invaluable experience working in companies and startups. Visit ⁠⁠⁠⁠⁠⁠⁠⁠jessicawan.com⁠⁠⁠⁠⁠⁠⁠⁠ or BOOK AN INTRO CALL: ⁠⁠⁠⁠⁠⁠⁠⁠https://calendly.com/jessicawancoaching/intro-call-coaching⁠⁠⁠⁠⁠⁠⁠ Credits Produced and Hosted by ⁠⁠⁠⁠⁠⁠⁠Jessica Wan⁠⁠⁠⁠⁠⁠⁠ Co-produced, edited, and sound design by ⁠⁠⁠⁠⁠⁠⁠Naomi Tepper⁠⁠⁠⁠⁠⁠⁠ Theme music by ⁠⁠⁠⁠⁠⁠⁠Denys Kyshchuk⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠Stockaudios⁠⁠⁠⁠⁠⁠⁠ from ⁠⁠⁠⁠⁠⁠⁠Pixabay "A Part I Play" lyrics and vocals by Dominic Lim, music and keyboard by Martin McGinn

Jessica interviews Dominic Lim,  an author & singer & storyteller.  Dominic's debut novel ALL THE RIGHT NOTES, a queer Asian rom-com, will be released in June 2023. Dom is a member of ⁠The Writers Grotto⁠ and is a co-host of the ⁠Babylon Salon⁠ reading and performance series in San Francisco. He studied psychology at Oberlin and got his masters from Indiana University's Jacobs School of Music. Dom has sung with numerous professional early music and choral ensembles. As a proud member of the ⁠Actors' Equity Association⁠, he's performed Off-Broadway and in regional productions throughout the US. Listen to the full version of "A Part I Play" performed by Dominic Lim and learn more at ⁠dominiclim.com⁠ This is a replay from Season 1 - Dominic Lim's book ALL THE RIGHT NOTES is available now, wherever books are sold! # Are you a high achiever, a leader, or an Ampersand who's recently taken on more responsibility at work? Jessica works with people just like you. She coaches individuals and leadership teams to rise to new challenges - with a unique blend of analytical & creative approaches, plus 18 years of invaluable experience working in companies and startups. Visit ⁠⁠⁠⁠⁠⁠⁠⁠jessicawan.com⁠⁠⁠⁠⁠⁠⁠⁠ or BOOK AN INTRO CALL: ⁠⁠⁠⁠⁠⁠⁠⁠https://calendly.com/jessicawancoaching/intro-call-coaching⁠⁠⁠⁠⁠⁠⁠ Credits Produced and Hosted by ⁠⁠⁠⁠⁠⁠⁠Jessica Wan⁠⁠⁠⁠⁠⁠⁠ Co-produced, edited, and sound design by ⁠⁠⁠⁠⁠⁠⁠Naomi Tepper⁠⁠⁠⁠⁠⁠⁠ Theme music by ⁠⁠⁠⁠⁠⁠⁠Denys Kyshchuk⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠Stockaudios⁠⁠⁠⁠⁠⁠⁠ from ⁠⁠⁠⁠⁠⁠⁠Pixabay "A Part I Play" lyrics and vocals by Dominic Lim, music and keyboard by Martin McGinn

Janene H. Fuerch, MD is a Clinical Assistant Professor of Neonatology at Stanford University Medical Center, as well as an innovator, educator, researcher and physician entrepreneur. She has an undergraduate degree in Neuroscience from Brown University and a medical degree from the Jacobs School of Medicine at SUNY Buffalo. At Stanford University she completed a pediatrics residency, neonatal-perinatal medicine fellowship and the Byers Center for Biodesign Innovation Fellowship. She is the Assistant Director of the Stanford Biodesign Faculty Innovation Fellowship, Assistant Director for the UCSF-Stanford Pediatric Device Consortium funded by the FDA and core faculty at the Center for Pediatric and Perinatal Education or CAPE (a specialized simulation center at Stanford). Janene is the co-founder of Emme - a women's reproductive health company acquired by SimpleHealth in 2022. "Our mission is to put women's health in women's hands. We're starting with the birth control pill, because missed pills, hormone imbalance, and unplanned pregnancy are all too common parts of the pill experience."

Today on Conversations on Dance we are happy to bring you a panel discussion on a very special project: the reimagining of La Bayadère. Joining us are Phil Chan, of Final Bow for Yellowface, Doug Fullington, dance historian and musicologist, and Sarah Wroth, Associate Professor and Chair at Jacobs School of Music at Indiana University. The trio talk with us about the idea to reexamine La Bayadère for a 21st century audience, how they are transforming the ballet while preserving it's history, and Indiana University's important role in it's creation.THIS EPISODE'S SPONSORS:Ballet Bird is a streaming site designed by former Pacific Northwest Ballet principal dancer Julie Tobiason. Ballet Bird offers ballet classes for anyone at any level of training that you can do from the comfort of your home or studio. Ballet Bird is a great addition to your regular in-studio training too. Take advantage of the ten day free trial and use the discount code COD25 to get 25% off through June 30th 2023 at balletbird.com.After a nearly-decade-long hiatus from live performance, ChrisMastersDance returns with Mausoleum, at Brooklyn Academy of Music's Fishman Space, June 2nd to 4th. Reckoning with the dance field's history of systematic exploitation, ChrisMastersDance is building a Mausoleum — a place to acknowledge and remember a past that has been laid to rest —making way for a tomorrow that sets aside unsustainable forms of life and work. Don't miss Mausoleum at BAM this is June 2- 4. Tickets are available at bam.org/Mausoleum or click the link in the show notes.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Welcome to the NeurologyLive® Mind Moments® podcast. Tune in to hear leaders in neurology sound off on topics that impact your clinical practice. In this episode, we spoke with with Robert Zivadinov, MD, PhD, director of the Buffalo Neuroimaging Analysis Center, and a professor of neurology and biomedical informatics at the Jacobs School of Medicine & Biomedical Sciences at the University at Buffalo. He discussed the recent CASA-MS study that he and colleagues conducted into a subgroup of patients with multiple sclerosis (MS) who develop rapid and progressive disability at a relatively young age, which he presented earlier this year at the 2023 Americas Committee for Treatment and Research in MS Forum, and the critical effectively need to treat this group of patients. The study was carried out at The Boston Home, a specialized residential facility for individuals with advanced progressive neurological disorders, in Dorchester, Massachusetts, and at the University at Buffalo, in New York. Looking for more Multiple Sclerosis discussion? Check out the NeurologyLive® multiple sclerosis clinical focus page. Episode Breakdown: 1:10 – Background on the CASA-MS study subpopulation 3:45 – Topline results of the study 6:05 – The need for further clarification in MS populations 7:10 – The utility of biomarkers such as GFAP 12:15 – Further assessment plans for the CASA-MS cohort 14:15 – Neurology News Minute 18:35 – Access to the tools to characterize progressive MS 21:30 – The potential with portable MRI and artificial intelligence 25:25 – Unmet needs in progressive MS This episode is brought to you by Medical World News, a streaming channel from MJH Life Sciences®. Check out new content and shows every day, only at medicalworldnews.com. The stories featured in this week's Neurology News Minute, which will give you quick updates on the following developments in neurology, are further detailed here: Phase 3 Study of GTX-104 in Subarachnoid Hemorrhage Expected to Proceed Following FDA Feedback FDA Places Partial Hold on Evobrutinib Initiation in Newly Enrolled Patients With MS FDA Panel Votes in Favor of Brexpiprazole as Potential Therapy for Alzheimer Agitation FDA Approves IntelGenx and Gensco's Rizatriptan for Acute Migraine Treatment DEA Rules Fenfluramine No Longer a Controlled Substance Atogepant's Indication Expanded to Include Prevention of Chronic Migraine FDA Grants Breakthrough Device Designation to Reach Neuro's Chronic Stroke Platform FDA Approves CSL Behring's Immune Globulin Subcutaneous Prefilled Syringe for PI and CIDP Thanks for listening to the NeurologyLive® Mind Moments® podcast. To support the show, be sure to rate, review, and subscribe wherever you listen to podcasts. For more neurology news and expert-driven content, visit neurologylive.com. REFERENCE 1. Zivadinov R, Jakimovski D, Burnham A, et al. Comprehensive Assessment of Severely Affected Multiple Sclerosis (CASA-MS) Study. Presented at: ACTRIMS Forum; February 25-28, 2023; San Diego, CA. P430. www.abstractsonline.com/pp8/#!/10822/presentation/468

I met Kenny Aronoff through LinkedIn and thought he would be a fairly interesting podcast guest. Boy, was I wrong! Not fairly interesting, but incredibly interesting and fascinating.   As you will learn, Kenny was named by Rolling Stone Magazine as one of the top 100 drummers of all time. In his biography, you will see a partial list of the people and bands that have benefited from his talents.   You will get to hear how he eventually decided to start playing modern music. This story is one in a million and it, I must say, captivated me right from the outset. I hope it will do the same for you. I do hope you enjoy it. I'm not going to give it away. Listen and see for yourself.     About the Guest:   Kenny Aronoff is one of the world's most influential and in demand session and live drummers. Rolling Stone Magazine, in fact, cited him as one of the “100 Greatest Drummers of All Time” and Modern Drummer named him #1 Pop/Rock Drummer and #1 Studio Drummer for five consecutive years. The list of artists he's worked with on the road and/or in the studio reads like a who's who of the music industry, and includes:    John Mellencamp, The Rolling Stones, Bruce Springsteen, Paul McCartney, Ringo Starr, Tom Petty, Sting, The Smashing Pumpkins, Billy Gibbons, Lady Gaga, Bruno Mars, Bob Seger, Bob Dylan, John Fogerty, Jon Bon Jovi, Elton John, Rod Stewart, Eric Clapton, Willie Nelson, Waylon Jennings, Johnny Cash, Kris Kristofferson, Jerry Lee Lewis, Little Richard, Ray Charles, B.B. King, Joe Cocker, Steven Tyler, Dave Grohl, Chris Cornell, Garth Brooks, Don Henley, Melissa Etheridge, Keith Urban, Lynyrd Skynyrd, Stevie Wonder, Alicia Keys, John Legend, Beyonce, Mick Jagger, Slash, Bonnie Raitt, Ricky Martin, Santana, Crosby Stills and Nash, Celine Dion, Lenny Kravitz, Vince Gill, The Buddy Rich Big Band, Leonard Bernstein, Aaron Copeland, Hans Zimmer and many others.    With a style of playing that combines power and finesse, his unique and versatile sound has been instrumental on over 60 Grammy-nominated or awarded recordings representing over 300 million in sales, with more than 1300 that were RIAA certified Gold, Platinum or Diamond.    Kenny's winning approach to drumming and to life has given him the ability to sustain a successful career for over four decades.                                                                                                                                     In addition to performing and creating amazing music, Kenny is an inspirational speaker.He talks about Living Your Life by Your Purpose, Teamwork Skills, Innovation, Creativity, Hard Work, Self Discipline, Perseverance, and staying Relevant in your career and life.  Striving to always be better have been the tools that have kept Kenny at the top of his game for over four decades.     Author is the most recent addition to his long line of credits.  Sex, Drums, Rock ‘n' Roll! The Hardest Hitting Man in Show Business (Backbeat Books, November 15, 2016). This is not about sex; it is about the same passion that drives us all to be the best we can be doing what we love with those with whom we want to share our talents.    How to Connect with Kenny:   IG   https://www.instagram.com/kennyaronoff/   Facebook https://www.facebook.com/KennyAronoffOfficial   Twitter  https://twitter.com/AronoffOFFICIAL   Linkedin   https://www.linkedin.com/in/kennyaronoff/   TicTok  https://www.tiktok.com/search?q=kennyaronoffofficial&t=1660858209914   Website    https://kennyaronoff.com   Youtube https://www.youtube.com/kennyaronoffofficial   Uncommon Studios LA  https://uncommonstudiosla.com         About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.   Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.     Transcription Notes Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i  capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson  01:20 Welcome once again to unstoppable mindset. I get to do something today. I have not done on this podcast before. But I've been looking forward to it for quite a while. I get to talk to a real live still absolutely functioning incredible man who is also a musician Kenny Aronoff has been a drummer for four decades he has played with basically anyone that you can imagine, although I'm going to try to stump him with one in a second here. But he's played with all of the people in the who's who have music no matter who they are. And and I'm so really excited to have the chance to talk with with him today. So Kenny, welcome to unstoppable mindset.   Kenny Aronoff  02:08 Thank you for having me. It's great to be here.   Michael Hingson  02:11 All while stump you right at the outset. Have you ever played with George Shearing   Kenny Aronoff  02:14 is that the guitar player who   Michael Hingson  02:16 does know George Shearing was a blind jazz pianist? He died?   Kenny Aronoff  02:20 Okay, I know. I'm thinking is that your is another guy had a close name? No, I never did. Well, there   Michael Hingson  02:25 you go. Oh, well, I found one. Well, I don't know he had a trio that he worked with. But I don't know how much he worked with a number of people primarily he played on his own. So it's not too surprising. But that's okay. But Stevie Wonder John Mellencamp Mellencamp. And have you ever. Oh, I gotta ask Have you ever played with Michael Buble? A.   Kenny Aronoff  02:51 Singer, I think he came onstage for one of these big events. Well, I play with everybody. I think I did play with Michael Boulais. He was one of the guests shows we were honoring whoever was, you know, I'll play with 25 artists in one show. Yeah. Might have. He may have been paired up with somebody else singing. Yeah. So I think I did.   Michael Hingson  03:11 Well, you know, we finally got to see him in Las Vegas. He's been my wife's idol for a long time. And I don't I enjoy him too. He's He's a singer who is saying the Great American Songbook, a lot of the old songs and all that. And he was in Vegas earlier this year. And so we got to go see him. And we actually really were very fortunate because we, we were escorted in early because my wife was in a wheelchair. And so they brought us in. And then the Azure came about five minutes before the show started and said, I've got two tickets that haven't been used down in the orchestra pit and they said I could give them to someone. Would you guys like them if the seats accessible? So of course, we said, Sure. Well, it was and we ended up being 18 rows from the stage, actually two rows in front of his family. And we got to see it was it was great. It was a wonderful concert. So   Kenny Aronoff  04:04 yeah, he's very, very talented. He's created his own niche in his own style. And that's a hard thing to do.   Michael Hingson  04:09 It is. But but he has done it. Well with you. Let's start like I love to start. Tell me a little bit about growing up and where you came from, and all that kind of stuff. Well, I   Kenny Aronoff  04:19 grew up in a very unique little town in western Mass, a group and like an old country farmhouse in the hills of Western Massachusetts to be whatever town was Stockbridge, Massachusetts. Maybe 3000 people but what was unique about that town, it was basically a slice of New York City. I mean, New York City was three hours away. Boston was two hours away. And there was a lot of arts. A lot of you know you had theater people there you had the Boston Symphony Orchestra in the next town over Atlanta, Lenox mass, which is three miles away. You had, you know, Sigmund Freud's protege, Erik Erikson, the wintertime Norman Rockwell, the illustrator lived in our town and he I used to go over to his house and me my twin brother. We I think we were in second grade. We should still cigarettes from him. We had a, you know, let's see. Norman Mailer was the next house down for me when you couldn't see anybody's houses where I lived. It was all woods and fields. But Norman Mailer, the great writer was right down the street from me. Another eighth of a mile was a Patty Hearst used to live in the house which they she had rented from the Sedgwick family, which is where Edie Edie Sedgwick came from that family. Down the bottom of the hill was a summer stock theatre where a lot of actors would come up from New York to get out of the city. So I met like, you know, people like Franklin Joe of Faye Dunaway and Bancroft, Arthur Penn, the movie director lived in our town, and so he would direct some place there. Goldie Hawn, which Dreyfus, they went on and on it. And this, this seemed normal to me. I didn't realize Daniel Chester French, who, whose was the sculptor, who did you know, the Washington Monument and Lincoln Memorial, he he at one point did our area. And when I went to Tanglewood, which is the most elite student orchestra in the country, if not the world, took me four years to get in there. But it's won by the Boston Symphony Orchestra. They only take seven percussionist in the whole world, when you when you audition, I literally failed three years in a row. And in my fourth attempt, I got in, but on that property is Nathaniel Hawthornes house. And he wrote The Scarlet Letter. I mean, I can just go on and on this area was just an extraordinarily extraordinary place to grow up with it was so many arts and intellectual people. But the thing that was amazing about this town was that it didn't matter. If you had money or had lots of money, everybody, you know, houses one locked keys were left in cars. It was a community. It was a it was a community where people support each other. So it's a great place to grow up.   Michael Hingson  07:13 That's one of the things I've always liked about Massachusetts. I lived in Winthrop for three years back in the well, late 1970s, early 1980s. But I always enjoyed the camaraderie and it was really hard to break into the community. If you were from the outside and I was viewed as an as an outsider, though I worked as hard as I could to, you know, to try to be involved. But if you weren't from there, it was really tough. By the same token, people were very kind to me, so I can't complain a whole lot. Yeah. Yeah. It was pretty good. And I was you actually beat me to the question I was going to ask you if you had ever made it over to Tanglewood. I never got to go up in here the symphony in in the winter in the summer. But I did needless to say get over to hear the pops on several occasions and and that was fun. And there's nothing like the Boston Pops. There's other than a Boston Symphony for that matter, either.   Kenny Aronoff  08:13 Well, I got to perform timpani on that stage. And with Leonard Bernstein, conducting Sibelius Fifth Symphony Orchestra, which is a feature of the timpani in and it's, it was incredible. So you know, my parents saw Easter dragged me to the concerts I didn't really want to go. And I ended up then being in we actually did Fourth of July with Arthur Fiedler. And apart from mingled in with   Michael Hingson  08:40 the half shell. Yeah. So you went to school, went to high school and all that, how long did you live there?   Kenny Aronoff  08:48 Well, I lived in non stop until I was 18. After 18, I went to one year at University of Massachusetts at Amherst, which is about an hour down the road. And then I transferred Well, what I did was I got into the Aspen School of Music, one by Julliard after my freshman year. And that's where George gave me the professor of Indiana University School of Music, now called the Jacobs School of Music. He was a he went to the percussion department at the school and this is the number one school of music in the country, if not the world. Yeah. And I wanted then I liked this guy. He was so deep. He was more than just a percussionist. He's a philosopher and a well rounded man. Anyway, I wanted to follow him and go to Indiana University. You have to realize I mean, Indiana was the best school and so I wanted to be in that school. And I demanded an audition up there and he tried to talk me out of it. Try to come back in January and will audition then. Then I said, Absolutely not. I want to audition. Now. I don't want to come to Indiana University, from the Aspen School of Music. It was a summer program. I convinced him I did audition, you had to audition for four different departments to get in. And it just so happened that they had people from four different departments that are you teaching up there like brass, woodwinds, violin percussion. And I auditioned, got in and spent four years at Indiana University. Now, that's when I started to spend more time away from home. Because you know, I was gone. You know, I come home for Christmas and summer, but that was pretty much it. Yeah. And it was an incredible education.   Michael Hingson  10:35 What? So, you, as you said, were dragged kicking and screaming to concerts and so on What changed your mind?   Kenny Aronoff  10:46 When I started to actually study classical music and start to perform in orchestras, I, I appreciate every style of music, and especially if it's done, right. And I've really, really enjoyed classical music. I mean, it was even though when I was a kid, and once rock'n'roll came out, it was like, you know, how was the classical music, but it was still on the soundtrack. To my upbringing, my parents had classical music and jazz on the turntable. They were from New York City. And that was very popular in that that time for them. So I didn't most keep the kid I had too much energy to sit and watch a concert, but performing it, you know, it was a different story. And then I became really good, eventually got into the Jerusalem Symphony Orchestra after I graduated Indiana University. And I actually turned it down, which was a shock to everybody. Because I'd spent five years becoming great at classical music. And I turned it down. Because I mean, and thank God I did is because I was following my heart, my deepest desires, my bliss, or your, you know, whatever you want to call it, I wanted to still be in rock bottom open. Now, let me back up a little bit when I was 10 years old, playing outside of that country farmhouse. And there was nothing to watch on TV back then. There was no case not   Michael Hingson  12:12 much more now, either. But yeah, with the so what year was that?   Kenny Aronoff  12:17 That was 19. I want to say 1950 1963 or 64. And maybe mom yelled at me, my twin brother come in the house. And we were like, Oh my God, what do we do wrong? You know, like, we thought we'd done something wrong. And what it was that we come running across the lawn, and we'll get to the family room, she's pointed a black and white RCA TV set with the rabbit ears to get better reception. And on TV. Also never, you know, for guys playing rock and roll music, you know, electric cars and bass, that long hair, and I don't know who they are. But I heard rock and roll on radio, but I'd never seen it live. And I. I mean, I was at that very split second, I realized what my purpose in life was before I even knew what those words meant. And I just knew I wanted to be doing that. I wanted to be part of that. I want to be part of a team of guys that's playing music, like they are and I said to my mom, who are these guys said, Well, they're the Beatles, The Beatles, I want to be in the Beatles call him up, get me in the band. And give me a drum set. I don't want to play piano anymore. Anyway, she obviously didn't call the Beatles up and didn't get me a drum set. So that was where I was really blown away and realize this is what I want to do. So when I turned on the Jews from Symphony Orchestra, I turned out certainty for possibility or turns down certainty for you know, complete uncertainty. And that was that one we wanted to it's what Yeah, to do. Exactly. And thank God, I followed my heart because obviously it paid off. But it was a struggle, man, it was like took a long time for me to eventually run into a guy like John Mellencamp, who he took a chance with me, and then took a long time for me to, you know, plan a song, play a drums on a song that got on the record, you know, when I first got in the band that I had only and the reason why I got in the middle of combat is because I got the last record that they had, and they were looking for a drummer, and I just memorized everything that all these other drummers did on the record. And well, in that case, it was just wondering what but they I memorize him he played in so I won the audition. And five weeks later, we were making a record in Los Angeles. And I realized that you know, or the producer basically fired me after two days, because I had no experience with making records, you know, to get songs on the radio to be number one hits, and I was devastated. You know, I was like hey, but I played with Bernstein and Bernstein and didn't matter. I had No experience. I didn't understand the value of teamwork the level of it's not about me it's about we it's not about what I'm playing. It's about what can I play to make that song getting the right record that will eventually be played on radio and become a one hit single.   Michael Hingson  15:18 Usually got to add value.   Kenny Aronoff  15:21 Well value to the team   Michael Hingson  15:22 that was the most that's what I mean by adding Yeah,   Kenny Aronoff  15:25 yeah. Because you know, when you try to be great at anything, it's all about you. It's all about me. But to be Tom Brady are a great you know, a leader and be a great you know, do something great for the team. It is about the team. It's not about you serve the band, serve the song serve, whoever's in there. You know, serve, what can I do to get that song to be elevated to be a number one hit single? Because if you if you become an if you have a number one hits, surely you're gonna make millions dollars. It's the way it was when I was a kid.   Michael Hingson  16:00 So for you starting out more doing the I oriented kinds of things, but then moving to the we mentality, which is essentially what I hear you say, how did your style change? How did you change? How did it affect what you did?   Kenny Aronoff  16:17 Well, I wasn't thinking about just what I want to play. I was thinking about what can I do to get this song on the radio so in and I had to think about how I can be the greatest drummer I can be for John Cougar Mellencamp songs. So I started don't my plane down and made it simple and started to simplify what I was doing. And that really worked. I started this into Rolling Stones, Creedence Clearwater, Bad Company, groups, where the drummers were playing with authority. They had they pick the right beat, they kept time, they made it groove. But ultimately, it was to make those songs that song better, you know, and that's what I started changing. I simplified my playing. And I remember thinking, Man, I gotta learn to love this. Because if I don't love this, I'm gonna suck at this. If I suck it this, this, just get another drummer. And so I had to learn how to pivot into serving songs serving the artists.   Michael Hingson  17:15 Did you ever meet Buddy Rich? Absolutely. I've kind of figured, or that other great drummer Johnny Carson.   Kenny Aronoff  17:23 And never met Johnny Carson.   Michael Hingson  17:25 I remember I remember watching a Tonight Show where the two of them Oh, yeah. Did drums together?   Kenny Aronoff  17:32 Oh, it was incredible. But he was tribute record. And that was an such an honor. Playing you know, to to blazing. Well, one was the medium tempo song, big swing face, which was title of an album, and the other was straight, no chaser blazing fast. And it was it was a very meaningful experience for me.   Michael Hingson  17:54 You know, and clearly, you respect that and just listening to you. You, you respect that, that whole mentality and you're approaching it with a humility as opposed to just being conceited, which is, which is great, because that really is what makes for a good team person.   Kenny Aronoff  18:15 Yeah, I mean, yeah, I mean, once again, at that point, I understand a student serving, you know, serving the song serving the artist, serving you know, whoever, whatever it is, what can I do to be great?   Michael Hingson  18:28 That's cool. So you know, you, you've done that you say you started playing, so was your first maybe big break in the whole rock world with John Mellencamp, or Yeah, it happened after you turn down the Jerusalem symphony.   Kenny Aronoff  18:45 Well, after a turn on juicing shift and went home, I started practicing eight hours a day, seven days a week at my parents house, I humbly moved back home, and still didn't know how I was going to break into the Rock and Roll scene. And after a year, I after a year, I decided to move to Indiana and start a band with a bunch of guys and somebody and one of their dads invested a lot of money into getting as a band truck lights, PA, and the business model was to write songs, get a record deal, record those songs, and then go on tour. And after three years, we didn't get a record deal. And I was like, Man, I don't know what what I'm going to do. So I decided I was going to move to New York City, which is one of the top three centers of the music business. And I ended up a week before moving to New York City. I have lunch with the singer songwriter, woman Bootsy Allen, who asked me what I was doing. I said you have gone to New York. Are you going to crush it good luck. And they said you know there's a guy in town I don't know if you've heard of him is John Coogan guy. He's on MTV, this new network and he's made records, you know, who is this? Yeah, for whatever. I wasn't a big fan of his music. It was very basic. And at that point, I was born to technique and chops, which is something you know, usually when you're young, you're like, you want to do more as more. But she said, yeah, man, he's they just got off tour, they were opening up for kiss. And he fired his drummer last night. And I was like, what, and I was in my head of going thinking the meaning of a god, that's records touring, MTV, oh, my God, this this is like being in the Beatles. This is what I dreamed about. I went running out of the restaurant, went to a payphone and called up books, there was no cell phones, and I call up my buddy Mike, and in the band and said, Look, I hear you might be looking for a drummer that got audition. He said, Call me back in two weeks, and we're going to try to sort some things out. And eventually, I do get a call, oh, he called me back. And I did audition. And long and short of it is I, I won the audition, because I prepared intensely practicing six, eight hours a day, trying to learn all the drum parts that were on the last record, a winning audition. And five, we say well, now Nellie making the record which I got fired on, as I mentioned,   Michael Hingson  21:20 then what happened after you got fired?   Kenny Aronoff  21:23 Well, that was crucial. That was a life changing moment, when John said, with a producer, I thought it was John, but it was a producer wanted to get this record done. And I had no experience making records. So he wanted to get it done in eight weeks, which is not a very long time to go toward a new band and do overdubs, get vocals and mix and master. So he wanted to bring in his drummers. And when we had a band meeting, and I kind of knew I could tell something wasn't right, my my spidey sense that something's not right. We had a band meeting and John told me I'm not playing on the record. And the words came out of my mouth and life changing. And he said, You go home at the end of the week, I said, No friggin way. Am I going home. And I remember the band looking like Oh, my God. Can't believe K Dick. Because you know, John was pretty tough guy is pretty tough. And so they felt what's gonna happen next. See what happened was happening there. As I was overwhelmed. I felt like a loser. I felt like a piece of crap. I felt like just I was every negative thing sad, you know, depressed, and I was bummed. He was stealing my purpose, my whole deepest desires. My whole reason that I'm alive. He was taking that for me. I just said, There's no way and I told them, I'm not going home. And that'd be like me telling you, you're fired. And you go, No, I'm not. I'm like, Dude, you're fired. And like, No, I'm not. And What don't you understand about the words you're fired? So I just, I mean, I am. I said, Well, due to my studio drummer, what? And he goes, Well, yeah, but you're not playing on the record. And I started scrambling, I said, Well, I'll go in the studio and watch these other drummers play my drum parts on your record, and I'll learn from them and I'll get better. And that's good. Fuchs, I'm your drummer. He was silent, didn't say a word. Shit. We're okay. You don't have to pay me, I'll sleep on the couch. And then he said, perfect. And that's what happened. And that was a life changing moment. Because if I had gone home, who knows what would have happened, maybe you've gotten another drummer. So that was a jaunt. To me in my autobiography, sex, drugs, rock and roll, he was saying, Wow, he really respected me for that, at that moment, he didn't realize I had that, you know, that I cared that much. And I would, you know, stand up to him and demand to be there. And he respected me for that. So how, yeah,   Michael Hingson  24:02 how much of it was ego and how much of it was really following your heart at that moment?   Kenny Aronoff  24:07 It was more about fear. And about following my heart, okay. No, I was like, I see what you mean about ego. I didn't want to go back home and I would have been ashamed to go back home and, and but but the fear of losing this gig and the fear of the unknown and what comes next was making me want to fight for what I had.   Michael Hingson  24:31 Yeah, um, you know, when there are a lot of people who are excellent in their fields, and they think very highly of themselves, which is fine, except that really detracts from the the team orientation which I know you understand full well. And so, it it's great to hear that it was really more following your heart and really you wanting to do the right thing. and having the courage of your convictions?   Kenny Aronoff  25:03 Well, yeah, I mean, I didn't see any other way out. And I've been banging my head trying to make it for four years after turning down the Jerusalem symphony orchestra. And I was 27. And I thought, Man, I don't know any options. So I want to do this, if I'm going to make this happen. And, you know, if I look back at my life, when I'm passionate about something, I make it happen, you know, it's easy to get along with me, I'm a great team player. But there is definitely a point where I will like, draw a line in the sand. And I might be very nice about it. But um, you know, I this is, I will fight for what I want. And it's usually backed by passion, and desire, and when anything is backed by passion, desire, or purpose, or bliss, or whatever you want to call it, you know, you're gonna, you know, you're gonna get what you want, and it's gonna be hard for people to convince you otherwise. And so yeah, that's pretty much, you know, when John was taking away my, my job, I saw no other options, and I'm seeing torn MTV, regular TV, and making records. And being part of a band that I truly believe was gonna make it and I was like, that, there's no way I was going to just lay down, you know?   Michael Hingson  26:29 Are you a person who reacts to things knee jerk reaction, although they may very right, or would you say that somehow you've internalized and when you make a decision, is because you've really thought it through, which doesn't mean that you have to take a long time to do it. But do you? Do you think that you are the kind of person who when you say, I'm going to do this, it's the right thing to do, is because you've really thought it through?   Kenny Aronoff  26:55 Well, it's both I mean, there's a lot of things I do, because I have thought it through. But there's no question that at any given moment, if something comes across my table, and it strikes me from a place of my heart, not my brain, but my heart, and my passion, I will react. And that's when I'll use my brain to maybe observe and ask questions. But many times I've said Yes, before even, you know, get deep into asking questions when something blows me away, and I'm excited. Paul McCartney called me up and said, I want to make a record with you. I mean, it would just be a mad automatic. Yes. You know, it before it find out no, we're gonna make it in Siberia. And there's no heat in the building or something. And I mean, I'm just gonna say Yes, right away, because it's Paul McCartney. And now Yeah, yeah.   Michael Hingson  27:53 Yeah. I mean, that would make sense. But you've also, you've met him, you know, him, you've learned to trust too. So it's not like it is an unintelligent decision to just immediately say, yes.   Kenny Aronoff  28:07 Yeah, I guess with pa Yeah, of course. But I mean, you know, take somebody else, you know, I don't know. Somebody. That I don't really know that well. Sure. You know, and I would if it's the right person, I'm gonna go Yeah, right away.   Michael Hingson  28:23 Yeah, well, yeah, exactly. But still, and the if it's the right person, part of it is very relevant, it still means that you've done some thinking about it. One of the things I love in listening to you tell the stories is like with John Mellencamp, you really said look, I want to learn now, if I'm if I'm your drummer, and there's a problem with this record, and all that, then I want to learn what I need to do. So it will happen again. And the real great part about it is that you say I want to learn, I love people who are always interested in learning and becoming better and don't think so highly of themselves that they don't have anything else to learn.   Kenny Aronoff  29:03 Well, no, that's true. You know, I've I won't mention names, but I remember going up to a very, very famous singer. And I remember saying I could see he was frustrated, trying to explain what he wanted me to do. I got off the drumset when went up to him, I said, Listen to there's nothing I can do. You know, uh, you just have to be very specific about what you want me to do. And I will do it. Because I can do it. And I want to learn I want to be great. I want to and when you're working for an artist, you're in a place of service. So I want to get it I know I can get it. There was just a disconnect for for for the explanation. And that took took a while to work out but the bottom I saw his frustration, but I was trying to let him know dude, I can do anything you want. I'm capable. And I meant.   Michael Hingson  29:55 Again, the operative part is it sounds like you worked it out.   Kenny Aronoff  30:00 Well, I've worked out enough, you know, I've done so many big show. I mean   Michael Hingson  30:03 with with that person, you're able to work it out. Oh, that person? Absolutely. Yep. Yeah, that's my point. And so you do, you do explore. And that is, that's a wonderful trading characteristic that more of us should develop. And we should have confidence in ourselves to know what we're capable of and know what we're capable of learning, and then go forward, which is what I'm hearing from you.   Kenny Aronoff  30:32 Yeah, absolutely.   Michael Hingson  30:35 The first time I did a speech in public after September 11, I got a call from a pastor of a church and he said, I want you to come and tell your story he had then I'd been on Larry King Live two weeks before first time I'd ever been on CNN and Larry King Live, but it was again after September 11. And I was used to being in a in a public setting. So it didn't bother me a lot. But this guy calls up and he says, I want you to come and tell your story. We're going to be doing a service to honor all the people who were lost from New Jersey in the World Trade Center. And I said, Okay, I'm glad to do that. And then I said, just out of curiosity, any idea how large the service will be? How many people will be there? And he said, Well, it's going to be outside probably about 6000. You know, I've never done a speech before. And my immediate reaction was, it didn't bother me. Okay, great. Just wanted to know, and I've done some things in church before, and I've, I've talked in some public settings, but not to do a real speech like that. Yeah. But, you know, I knew that it didn't matter to me if it was 6000 or six, four, for me. There were techniques to learn. And over time, I learned that good speakers don't talk to audiences, they talk with audiences, and they work to engage people and, and when the in their speeches in various ways, and it's so much fun to do that. But 6000 It really just worked out really well. And there were other people there. Lisa beamer was there, her husband was Todd Beamer, the guy on flight 93, who said let's roll and, you know, it's a pretty incredible night and I'll never forget it. But you know, you know what you can do and when you really know your capability, but are willing to share it and grow and learn. What more can somebody ask for?   Kenny Aronoff  32:30 Yeah, I mean, I, my thing about being alive on this planet is to get the most value out of this life. I'm not I hope there's something after this, but whether there is or not, the point is to get the most value out of this life when it's very short. So I'm not wanting to sit, I'm just wired that way. I'm not sitting sitting on a couch, just you know, hanging out on a daily basis. You know, I I've played on 300 million records sold. I've toured with some of the greatest bands in the day, as diverse as you know, the highwomen, which is Johnny Cash, and Kris Kristofferson whether James will Richard to Jerry Lee Lewis to the Smashing Pumpkins and Tony Iommi, from Sabbath to Boston Symphony Orchestra and Ray Charles and BB King to sting to The Beatles and The stones. And I feel fortunate that I get to play with so many different people because you get pigeonholed in my business. You're a rock drummer, you're a country drummer, you're this, you're that drummer. So and that that definitely ties into the ability to be able to connect, communicate and collaborate with people because who they want in the room with them. It's not just the most talented musician, it's somebody they want to hang out with. Mellencamp is to say, look at, I need people I get along with, I'm lonely on stage for two and a half hours. While the rest of the time I got to hang out with you guys. So I want people like get along with you. Right? You know, and I get I totally got that. Because the thing is, is that to get what I like about getting the most value out of life is that I'm wired to grow and learn. And the beauty it's a building, you know, a skyscraper, you know, the top only exists because you built the foundation from the bottom, you work your way up and you get, you have to be strong and you build and I don't believe in mistakes or failures. They're just events that get you to the top. And if the words mistakes and failures, bring in negative energy to your body, so I don't even use those words anymore. Everything's an event. Something that doesn't work out the way you want is a learning experience. It's a gift. And I'm like, basically Tom Brady, you know, you're always trying to get into the endzone. If you get if you fumble, you get sacked or whatever. Whatever life is filled with sacks and dropping the ball. He said where are you trying to go? What you Northstar or my North Star is the end zone. So that happened, what did I learn from it? How are we getting in the end zone? And that's where I look at life.   Michael Hingson  35:08 Yeah. Well, and, you know, to to extend your, your thought, I agree about the whole concept of mistakes and failures for me. And people have said it. And I and I firmly agree with, like Zig Ziglar, and others who say that there's no such thing as a mistake. It's a learning experience. And the question is, do you learn from it? And that's the real issue, do you learn from it, and I, I, where, after September 11, I started speaking to people and traveling the country and still do, and enjoy it immensely. But one of the things that I realized over the last three years with the pandemic is that I've never taught people some of the techniques that I learned along the way and used just because they came along, to not be afraid. On September 11, I had developed a mindset that told me that I can observe, I can focus and I don't need to be afraid. So we're starting to actually we're, we just submitted the first draft of a book about learning to control your fear so that you don't be an individual who when something unexpected happens, you let fear as I put it, blind you, you learn how to use that fear to help heighten your senses and direct you. And one of the things that I talk about is the whole concept of how much do you at night take time just to be introspective and look at the day? And what happened today? What what do I learn from this? How could I have done this? I was successful with this, but how could I have been even better? Or this didn't go? Well? Why? And what can I do about it and really think about it, you know,   Kenny Aronoff  37:01 that's good stuff that's very valuable, that says, that's a good way to learn, because you can learn from yourself. And, and, and sometimes we have to repeat things, many, many, many times to finally get the lesson. But if you do what you just said, and you take inventory and what went on that day, you could possibly learn that lesson way quicker.   Michael Hingson  37:24 And I've changed my language a little bit, I used to say that you are you're always going to be your own worst critic. And I realized that's negative. I'd rather say I'm my best teacher, if I allow myself to do it. And that is so true, isn't it?   Kenny Aronoff  37:39 Absolutely. That anything negative, you should throw out the window and pivot it, flip it to the it's always positive. And there's definitely always another narrative. And the positive narrative is always going to serve you better than the negative   Michael Hingson  37:55 always will. There's no great value in being negative and putting yourself down. You can be frustrated by something that didn't go the way you thought, Well, why didn't it? It may very well be that there's a legitimate reason why it didn't work out. But if you figure that out, and you allow yourself to teach you about it, you want to make you won't make the same scenario happen again. You will be successful the next time.   Kenny Aronoff  38:22 Yeah, absolutely. Yep. I totally agree with you on that.   Michael Hingson  38:26 So have you done anything in the music world dealing with rap?   Kenny Aronoff  38:34 I've never been on a rap record. But when you know, I remember being in the Mellencamp band. And that was a long time ago, I left in 96. I remember I was listening to some Snoop Dogg and I was grabbing ideas from those records and bringing it to melachim. That's what we were always encouraged to do. Back then they were budgets long we could make spend nine months making a record. And you could do a whole record sort of way and start from scratch. But I was getting ideas with ideas, loop ideas. I remember making sleigh bells on a song. Super I played sleigh bells on a whole bunch bunch of songs on early records in the 90s. And I copy that and John loved it. It's a different thing. And so yeah, in that regard, I did learn a lot from the rap music.   Michael Hingson  39:22 I've I don't know my my view of rap has always been I think it's a great art form. I'm not sure that I view it in the same musical way that that some people do because it's not so melodic, as it is certainly a lot of poetry and they kind of put poetry and words to to music in the background. But I also believe it's an incredible art form listening to some of the people who do rap. They're clearly incredibly intelligent and they're, they're pouring their hearts out about what they've experienced and what they see sometimes in ways that you don't even hear on regular mute. Music?   Kenny Aronoff  40:01 Oh, yeah. I mean, there's no question that it's, it's a, it's a form of music. It's a reflection of, you know, we're societies that you know, I mean, the arts will always reflect where people are at, and is a huge audience of there's a lot of people that can relate to this whole style of, of music or what rap is. It's a lyrics are very powerful in that they it's mostly centered around a beat and lyrics. And yet a lot of attention is drawn to that, as opposed to just take a band where they have, you know, two guitar players playing melodic lines and the keyboard player melodic line. And there's none of that really going on not not to the extent of of that in rap music. And although some people have added Dr. Dre at a lot of stuff, to the people he's worked with, like Eminem, but still, it's more centered around the voice the person.   Michael Hingson  41:04 And message and the message.   Kenny Aronoff  41:06 Oh, absolutely. The message. But you know, the thing is, is it's you, I guess it's up to everybody decide. You can call it whatever you want. And then it doesn't matter. If somebody's digging it. They did. They don't they don't is that?   Michael Hingson  41:23 Well, it is absolutely an art form. And it's an art form that should be as respected as any. In certainly it is to pardon the pun struck a chord with a lot of people and that's fine. And it's in it's great that there's so much of it going on. So what kind of tours have you been on lately? What kind of music have you done or what's coming up?   Kenny Aronoff  41:46 But I just finished the Joe Satriani tour. He was one of the greatest guitar players on the planet. Because it was just an evening with Joe Satriani. It's a very tech the music is very technical. It was, it was great for me because I was, you know, my, my technique excelled tremendously to play those types of songs. I'm going to Europe with him. See, April, May and how to June for nine weeks doing a thing called G four, which is a camp that he does in Vegas, which will feature the guitar players Eric Carroll, Steve Luthor, Steve Morse, C, Peter Frampton, and a bunch of other people. Basically, when I finished the Joe Satriani tour, I had 85 songs waiting for me to learn. Some of which I recorded my studio, I have a studio called uncommon studios. I tried to push back all the records I was going to make while I was on tour to when I got off tour. I did that and then I just finished doing a show maybe three nights ago with Jim Mercer and the owner of the Indianapolis Colts, who's showing his museum is so American collect collectibles as he calls it, a collection snatches musical instruments but it could be like, you know, American cultural type stuff like Abraham Lincoln's handwritten letters, you know, eases Wharton's writings, Muhammad Ali's gloves and belt from the thriller from Manila fight. I mean, it just goes on and on. And so I did a concert with him, but that featured like Kenny, Wayne Shepherd and Wilson from heart, John Fogarty, Buddy Guy, and Stephen Stills, and that was 30 songs. I had to learn and perfect. I write everything out. I know every tempo, I know all the song structure. So my goal is not just a drummer, but it's also to kind of keep everybody in it straight. And in line. We only have 112 hour rehearsal night before and the next day. It's, it's the show, so it's massive preparation. And next week, I'm going to do Billy Gibbons. So this week, on Thursday, I'm gonna do Billy Gibbons, a birthday party at The Troubadour and Swidler no songs, I'm finishing I'm starting to edit my second book. It's a self help book. It's about you know, living your life loud and how important time is in the short life we live. That goes into my speaking world. I have an agent and I do inspirational speaking, I'm mostly corporations. And so that book is kind of like, as a lot of the stuff that's in that speech, but a lot more with a lot of action items and takeaways. I'm just, I just put out a drum book. During the pandemic, a transition to my studio where people send me files, I make records for them, or I play drums on the records. I turned it into a place where new virtual speaking and now I may be launching a very a podcast with I have a whole team that will be you know produced to a director and everything, and I can do that from my studio, I have a wine that just came out. Uncommon wines just won an award. It's a cab serraj. Limited Edition. But yeah, I got a lot going on.   Michael Hingson  45:15 Well, and that keeps you busy. And it's obviously something that sounds like a lot of fun for you.   Kenny Aronoff  45:21 Absolutely. That this point, it's like, if it's not fun, I ain't doing it.   Michael Hingson  45:25 Yeah. Yeah, if you can't have fun, then what good is the world anyway?   Kenny Aronoff  45:32 It's up to you, man. It's up to you. You know, this, you know? We everybody has? Well, most people have options. So, you know, some people, you know, maybe less than others. But, you know, I just said, it's all in your mind. It's a mindset, you know, you can make things better, or more difficult. It is up to you.   Michael Hingson  45:58 And I think you really hit the nail on the head, if you will. Everyone does have options. And a lot of times we have more options. And we think we do we undersell ourselves, we underestimate ourselves, which is why I love doing unstoppable mindset. Because my goal is to help people recognize that, in reality, they probably are a whole lot more unstoppable than they think they are.   Kenny Aronoff  46:20 Yeah, well, exactly. But only you can figure out your power. It's up to the individual. And this is not a mental thing. This is an emotional thing. You have to feel your power. And and I think that's like a thing I call RPS repetition is the preparation for success. And that could be anything, anything you do over and over again, you get better at because you're doing it over and over again. And sometimes it takes longer to get somewhere with one thing then other things, but it's you can't just set it and forget it. You can't just like be successful one day and think that's it for life. No. I used to practice on the Joe Satriani tour, a song called Satch Boogie twice a day. And people go, why may you play that greatest said, because I played every day. And preparing every day? Yeah, playing it at night. That's why it sounds so good at night. And when I don't, then I usually learn a lesson that I need to do that I'm talking about the more technical things, you know.   Michael Hingson  47:24 Sure. Well, and that brings up the question of like, you're preparing to do the event at The Troubadour and so on, how do you prepare? What is it you do to learn the songs? How does all that work?   Kenny Aronoff  47:36 I've read every single note out that I'm going to play. Check out the church right here. For the viewers, I can hold up one sheet of music, very detailed. I write every single note out I got the tempo, and know exactly what to do, then I just drill it. I run through it. I practice the songs. When we're done. I'm going to practice that whole show tonight. Tomorrow, I'll practice it twice. And then Thursday, I'll practice it and then do the show.   Michael Hingson  48:05 Do you record your practice sessions? So you can listen to them? Or do you   Kenny Aronoff  48:10 know that that would be a real? That's a good thing to do? No, I don't. And it's no. That's a good, that's a great way to learn. But it's also time consuming?   Michael Hingson  48:24 Well, it well, it is a but you then get to hear it in a sense from the perspective of listeners.   Kenny Aronoff  48:32 So I do but I will I'm playing I'm listening to Yeah,   Michael Hingson  48:36 I understand. Yeah. And that's why for you, it may or may not be the best thing to do. I know for me, when I do a podcast interview, I will go back and listen to it again. And I do that because I want to see how I can improve it and see easiest way for me to do it. I listened to myself when I'm talking. And I listened to the person who I'm talking with. And I do my best to interpret their reactions and so on. But still, for something like this, I get to learn a lot by going back and listening to it. And as I as I tell everyone I talked with about this, if I'm not learning and it's the same thing with speaking if I'm not learning at least as much as my audience or my guest. I'm not doing my job. Well. Yeah.   Kenny Aronoff  49:27 Well, you don't I mean, there's no question listening to what you do is great. Great way to learn. I'm using is moving so fast and doing so much that just Yeah, I don't have time. But that's no question. I think that's a great way to learn. You know, and when I see myself I feel myself speaking. Oh my god, that's so humbling, right? Yeah. Oh my god. And   Michael Hingson  49:51 it's such a when you're speaking and you're doing an auditory thing like that it probably is best to go back and listen to it. I remember when I was are at the UC Irvine radio station que UCI and was program director. I worked to get people to listen to themselves. And they they would record their shows. So we actually put a tape recorder in a locked cabinet, a cassette machine, and we wired it. So whenever the mic was live, the voice was recorded. And then we would give people cassettes and we would say that you got to listen to it before the next show. Yeah, it was really amazing how much better people were. At the end of the year, some people ended up going into radio because they were well enough. They were good enough that they could be hired and went on to other things. Yeah, and it was just all about, they really started listening to themselves and they realized what other people were hearing. Yeah, no, that's,   Kenny Aronoff  50:51 that's, that's a great, I think that's brilliant. You know,   Michael Hingson  50:56 it's a it's always a challenge. So, so for you. What was the scariest or the, the weirdest show that you ever did or performance you ever did?   Kenny Aronoff  51:10 Well, probably the most one of the more scary moments in my life was when I was 20. Barely 23 And maybe I was still 22 I for my senior recital at Indiana University. You know, I was a performance major. I got you the way we learned how to play melodies and have that type of education because we play violin music or cello music on marimbas. Well, for my seniors I pick the virtuoso Violin Concerto that Itzhak Perlman played as his encore, in his concert I saw when I was a freshman, and so beautiful, but highly technical. And I spent one year, two or three hours a day, learning that one piece one of four pieces on my senior recital. And it was I learned it so well, that my professor won me to audition for concerto competition, and I won, which meant that I performed that piece with the 60 piece orchestra in an opera Hall bigger than the New York met, which is an Indiana University. Now granted, this is the number one school music in the country for classical music. So this is there's no handholding. There's no coddling, there's no trophies. This is like being I want to almost say like being a Navy Seal, especially with my teacher. But that guy helped make me and I was the right student for him become who I am. And the discipline that I learned from was extraordinary. But anyway, I've never, you know, usually when you're a percussionist, you're in the back the orchestra. So this was the hear the rolling the marimba out in front of the this big concert hall. And I'm in the wings, you know, with a tuxedo and I walk out like the solo violinists. And I was crapping my pants in the whole thing was memorized. And oh, man, I was terrified, but I crushed it.   Michael Hingson  53:14 Well, you took control of your fear.   Kenny Aronoff  53:18 I do well, I tend to I tend to take fear and use it as as a not a weapon, but I use it. It'll alternative the power, it is power. But on the other hand, we do have the ability to sabotage ourselves. And that's something is a child would do. Because you have self doubt you're small. everybody around you is big. You've got parents, teachers, coaches, whoever telling you, Kenny, that's wrong, bad, bad, bad. And as a little guy, you know, you're trying to please everybody. Then maybe my teachers saying to me, sometimes when I make a mistake, he'd look at me go, Kenny, are you afraid of success? And I'm like, What is he talking about? But realize that when you're younger, you start to think you're gonna make I'm gonna mess this up. Oh, here it comes. And you do and you do. But now that I'm older, I realize from this, this I hate that so much that I want to be successful so much. I overpower any of those feelings. I'm like, it's more like I got this and I'm gonna get it. And I meet believe it. But I can't tell anybody listening. There's a quick remedy for that. You don't take a pill and all sudden you become that? That's a long talk because I used to think how long am I going to end up being like this why sabotaging myself where your fear takes over. Now, I use my fear as my strength. I don't even know if I want to call it fear. Somebody says you get nervous when you do Kennedy Center Honors or any of these shows. At this point. Hell no. I don't get fearful As I get serious, I'm like in the Superbowl, and I know I can win. But I also know that things will not necessarily go the way you want. Because you're not the only one on that stage. Right? People, it's my job at any moment to be able to adapt, or die. You adapt immediately. You fix it, or you die, and I'm not about dying.   Michael Hingson  55:25 Have you ever had any experiences when you were on stage? And in a sense, you blew it? But then you recovered or anything?   Kenny Aronoff  55:34 Oh, yeah. Okay. Well, what you want to call blow it blowing, to me would be just one note in the wrong places. To me. It's nothing I don't like but the huge. The place I'm in now is I know very, very, very. I know how important is to forget about that. And to stay focused and stay in the game. It's like Tom Brady getting sacked. And his two minute drill to win the game. He gets sacked. He's got to be you can be pissed off for a second but he's immediately focuses on endzone, touchdown, endzone touchdown. One thing I learned from that experience, we aren't run in place that direction, the more we're doing this, you take it and you flip it, it becomes your power. So when something goes wrong, there's a part of me Of course, it's like really pissed off. But I also understand deeply in my gut, that you've got to blow that off and focus on how you're going to be a bad mofo. And I don't talk about my mistakes. A No, I don't have mistakes, I don't talk about the things that don't work out. Because you don't want to talk about them, you're giving it too much power, you just move past it. If somebody brings it up to you, you then can have a discussion. But unless somebody brings it up to you, you just move on, you don't think about it, and you don't dwell on it, because that will weaken you   Michael Hingson  57:00 every time. Absolutely every time. And you know, it's as we said, it isn't No, it isn't a mistake, you you did something, you played a wrong note, but you really spend so much time practicing, you do get it to be and I don't use this as a way to negate it, it becomes very rote. By the time you're playing in the actual performance, you have really worked to make sure that you truly understand what the event is, what the music is that you're supposed to be playing. And you're used to it. I would also wager that no matter how much you practice, when you get up on stage, now you're in a dynamic where you have the whole orchestra or the band or whatever. I wouldn't be surprised if there are times that you adapt on the fly as well.   Kenny Aronoff  57:54 Absolutely you do. I mean thing is, like this concert I just did with all these great artists, they were, you know, people, I have everything written out. But people would drop in courses are dropping parts. And I adapt and I direct, I help people, you know, or if I if I, if there's something I space out or something, I'm very quick at self correcting. And, you know, making it work out.   Michael Hingson  58:22 That's what it should be.   Kenny Aronoff  58:24 That's what exactly that's what it should be. Yeah. And and you, you you will let yourself down, if you get sucked into this bloody ego in, in getting drawn into Oh, woe is me and failure and all that. You got to push that aside, you got to be centered, like, like a Navy Seal or a warrior king, you know, or warrior queen, where you people are looking to lead and looking to you for strength and wisdom. And I want to be that person, I am that person.   Michael Hingson  59:03 And at the same time you also know when you're leading, if you're a good leader, you know when to let somebody else take the lead because they have a skill that works in that particular moment.   Kenny Aronoff  59:15 Absolutely. I call it lead them to lead. Hmm. Help them lead assist them to lead without saying anything. You do this your job to help them feel like they can lead.   Michael Hingson  59:30 So how did you get involved now in starting to do public speaking kinds of things and travel around and do some of that?   Kenny Aronoff  59:38 Well, I wrote an autobiography called Sex, Drugs, rock and roll and people were asking me to speak a little bit. I had done about 30 years of drunk, drunk clinics masterclasses where I would speak it was a show so but to speak. Like we're talking about I had to really work develop a craft it wasn't you know, I I worked to some writers, I built websites and got rid of them got different ones, I went and spoke to an agent and he told me what it really means to be a speaker what you need to do, I did what he told me doing, came back to him two years later, and showed him what I had done. And he was blown away. He said, I want to work with you. So he started, we started working together, and he started telling mentoring me and I started to put together a show. So filmed, you know, and I kept developing it and honing it down. And, and now you know, I've got, you know, teamwork, leadership, innovation, creativity, connecting communication, collaboration, realize your purpose, staying relevant speech. And it's I do perform. During the speech, I have a set of drums there, that's the entertainment part. People want to see me perform, because I'm a drama. But the the message is very powerful. And it's it. It's not just, I mean, I've done this, my success in the music business is a proof of, you know, how to go from this little kid from a town of 3000 to 40 years. Well, not 40 years later, it's a lot years later. And after that, at this point, it's 60 years later, how I became what I had, how they became successful, successful, and they've stayed successful. And a lot of those skill sets. And what I learned in the music business applies to these other businesses I do, which also applies to other people's businesses. So I speak about that. And just to answer your question a little bit more specifically, I just, I put together a show I have an agent, and we've been building off of that. And I just am doing more and more of that.   Michael Hingson  1:01:48 Tell me about your book a little bit.   Kenny Aronoff  1:01:50 Well, sex One immediate the autobiography, the one one,   Michael Hingson  1:01:53 now the firt. Right now, the autobiography The first one.   Kenny Aronoff  1:01:57 Yeah, that's basically my life story. It's about how I came from that middle town of Western Mass Stockbridge and how I went to, you know, how I went from there to where I am now, basically, in a nutshell, and there's all kinds of stories, you know, Smashing Pumpkins, Bob Seger, John Mellencamp Bon Jovi, The Rolling Stones, meeting Bill Clinton, you know, there's a little bit of funny stuff, there's little bit of drama, is a little bit of rock and roll wildness. But the bottom line is the big message that the thread through the whole book is, I've worked my ass off and still working my ass off.   Michael Hingson  1:02:36 And I hear you stay in great shape. I must be from all those beating of the drums.   Kenny Aronoff  1:02:41 It is. But it's also I in my new book, I have the healthy life as a wealthy life, which is a basic eight step program on how to stay healthy, which affects you mentally, physically, emotionally, spiritually, you know, I won't go through all the details of it. But it's, it's definitely a setup. And you know, I'm aware of what I'm eating. And you know, I'm not perfect, but I'm aware of everything I put on me. So in other words, if I have a day one, eating not as well, as I, as I usually choose to, then I know how to make up for it the next day, and I do exercise every day. And of course, playing the drums. I mean, you're doing a three hour show. You're burning 1000s calories. Yeah. So there's that, you know,   Michael Hingson  1:03:24 which is, which is really pretty cool. And so you're, you're in a profession that keeps you active anyway, which is which is good. You cannot it's hard to tough to, to argue with that, isn't it?   Kenny Aronoff  1:03:38 Yeah. It's great. It's phenomenal. I love that unit.   Michael Hingson  1:03:42 Did you self published the first book? Or did you have a publisher,   Kenny Aronoff  1:03:45 I have a publisher for that was a hell, Leonard backbeats, which is now there now is Rowan and Littlefield did an audio version, this new book I have is is going to be self published. I am working in writing it for the second time. And it will be they have a marketing team. And but I own the book. And I may possibly look for a publisher after that. But this new book is more self help book. It's basically as I think I mentioned earlier, it's taking what I'm seeing in my speech, but with a lot more information, extending you know that information. So people can you know, if they want to hear more about what my my philosop

We talk with Atlanta music legend Kevn Kinney ahead of his shows in Atlanta and Athens.  Also  A former Doraville police officer who had previously been accused of concealing the death of 16-year-old Norcross resident Susana Morales has now been formally accused of kidnapping and murdering her. The charges against Miles Bryant have been upgraded to include felony murder and kidnapping in connection with Morales' death last July. Bryant was previously charged with concealing the death of another person and false report of a crime. He will continue to face those charges in addition to the new ones. Bryant's employment with Doraville police was terminated when he was arrested earlier this month.  Police now believe that Morales was killed within four hours of her disappearance on the evening of July 26. Morales had gone to visit a friend earlier that evening and had texted her mother when she was walking back to her home just before 10 p.m. Police say Morales encountered Bryant sometime between 10 and 10:30 p.m. on July 26, 2022, and that her death is believed to have occurred sometime between then and 2 a.m. on July 27. Morales' parents had searched for her throughout the night and filed a missing person's report with police at 9 a.m. on July 27. Morales' skeletal remains were found in a wooded area off State Route 316 between Drowning Creek and the Gwinnett-Barrow county line earlier this month. A personal handgun which Bryant had reported missing at about 11 a.m. on July 27 was found near Morales' remains. The cause of Morales' death remains under investigation at this time, however. Run The Reagan has always been a celebratory event in the Snellville area, with the annual road race providing fun, competition and a chance to raise funds for local charities. But this year's race, scheduled for Saturday, will also come with some sadness as those who gather to participate and work the event remember the life of Parks Mann, the race's founder. Mann died on January 6 at the age of 76. A deacon at Smoke Rise Baptist Church, he was known in the community for founding the Run The Reagan race as well as his work with the Gwinnett Community Clinic. Part of Mann's legacy will be on display Saturday when Ronald Reagan Parkway is shut down for the event, which includes a fun run, a 5K, a half-marathon and a full marathon. Upwards of 2,000 people are expected to participate The event, in its 28th year, has been a generous community benefactor for years, raising more than $3 million, which is donated to local charitable organizations. This year the Brookwood Schools Foundation, the Southeast Gwinnett Cooperative Ministry, the South Gwinnett Cluster Foundation and the Lilburn Cooperative Ministry are the charities that will benefit from funds raised by Run The Regan. For high school seniors seeking opportunities to continue their musical education in college, the next several weeks are known as “the audition season.” Peachtree Ridge senior Jihoon Kim will have an excellent experience to help bolster his credentials on the cello when he makes his solo debut in late March with the DeKalb Symphony Orchestra. Kim finished second in a recent concerto competition to earn a spot performing with the iconic DSO, now celebrating its sixth decade. The Suwanee resident will join the orchestra to perform the fourth movement of Edward Elgar's Cello Concerto, a composition he knows very well. Although this will be his first spotlight appearance with an orchestra, Kim is familiar with large ensembles, having performed with the Atlanta Symphony Youth Orchestra, the Emory Youth Symphony and the Georgia Music Educators Association All-State Orchestra. And while he's no stranger to the stage and the spotlight, Kim admitted he's still trying to wrap his head around this prestigious opportunity. Kim has several schools he's interested in and had a late-February in-person audition at the Eastman School of Music in Rochester, New York. He has also had zoom auditions with Bard College in New York, the University of Georgia, Columbus State, the Jacobs School of Music at Indiana University and the Peabody Conservatory in Baltimore. Kim's performance with the DSO — now under the baton of new music director Paul Bhasin — is set for 8 p.m. on March 21 at the Marvin Cole Auditorium in Clarkston. For more information, visit Dekalb Symphony dot Org. Gwinnett County Police K-9 officer Kai had a tough time last summer after he was shot by a suspect that he was trying to apprehend and subsequently had to have one of his legs amputated because of his injuries. On Tuesday, Gwinnett County commissioners recognized Kai, told him he'd done a good job in his service to the county and said he could now kick back his paws, relax and enjoy retirement. The commissioners voted formally to retire Kai from law enforcement service. Kai's retirement comes after a year in which he made headlines in ways he and his handler, Cpl. Aaron Carlyle, could not have anticipated 12 months ago. A year ago, Kai, a Belgian Malanois, was a newcomer to the Gwinnett police department's K-9 unit, having just joined the department in August 2021, and he looked to have a long career ahead of him. Then, came that fateful day on May 23, 2022, when he was brought in to help track a suspect who was accused of entering a home and threatening his girlfriend and other people who were inside the home in the Lawrenceville area. The suspect had fled the home by the time police had arrived, which is why Kai was brought in to help track him down with aerial assistance from the police department's Aviation Unit. The suspect opened fire at officers who were pursuing him and two of the bullets hit Kai. Kai was in the hospital for three weeks and have to have one of his leg's amputated Police had returned fire and shot the suspect, who was then taken to Northside Gwinnett Hospital while Kai was taken to North Georgia Veterinary Specialists in Buford for treatment. Due to his injuries, Kai's veterinarian, Dr. J.W. Wallis, recommended he be retired last August. Although his doctor recommended his retirement last August, the police department kept him in service for a few more months to help with some police activities that saw him acting as a de facto face of the department. At the Red, Blue and You law enforcement appreciation event last November, for example, he was recognized for his bravery when he received the Purple Heart Award for law enforcement. Sasha Tarassenko, a senior at Paul Duke STEM High School, is one of only three students to win this year's 2022-23 concerto competition with the Atlanta Symphony Youth Orchestra. Sasha, one of the 114 students who make up the symphony's youth ensemble, will have the opportunity to perform a solo flute concerto next season. The Atlanta Youth Symphony Orchestra is under the direction of Resident Conductor and Music Director Jerry Hou. Anh Ho, a percussionist at Collins Hill High School, earned honorable mention. Applications for the Atlanta Symphony Youth Orchestra's 2023-24 season are now open. Applications and auditions are open to rising eighth to 12th grade musicians who play orchestral string, woodwind, brass, and percussion, including piano and harp. For more information be sure to visit www.bgpodcastnetwork.com   https://www.lawrencevillega.org/  https://www.foxtheatre.org/  https://guideinc.org/  https://www.psponline.com/  https://www.kiamallofga.com/  https://www.milb.com/gwinnett  https://www.fernbankmuseum.org/  www.atlantagladiators.com            See omnystudio.com/listener for privacy information.

This episode features Dr. Steven E. Lipshultz, A. Conger Goodyear Professor and Chair, Department of Pediatrics and Voluntary Clinical Professor of Obstetrics and Gynecology, University at Buffalo Jacobs School of Medicine and Biomedical Sciences;Pediatric Chief-of-Service, Kaleida Health; Medical Director of Pediatric Services Business Development, John R. Oishei Children's Hospital; Consultant, Roswell Park Comprehensive Cancer Center; and President/CEO UBMD Pediatrics Medical Group. Here, he speaks about his multiple professional roles, his top priorities, his focus on prevention & implementation research, and more.