Podcasts about James Levine

Do you have a goal to lose weight? If so, you're probably thinking about how you need to exercise more. And that can certainly help. But what about the 23 hours a day you're not at the gym? How much you move during those hours — from walking to the mailbox to fidgeting at your desk — can be just as important in winning the battle of the bulge.Here to explain the importance of what's called non-exercise activity thermogenesis, or NEAT, is Dr. James Levine, a professor, the co-director of the Mayo Clinic's Obesity Solutions Initiative, the inventor of the treadmill desk, and the author of Get Up!: Why Your Chair Is Killing You and What You Can Do About It. James explains how much more sedentary we are than we used to be and what happens to your body when, as the average American does, you spend two-thirds of your day sitting. He shares how doing the lightest kinds of physical activity, even standing more, can help you lose a significant amount of weight and improve other aspects of health, from your sleep to your mood. And we talk about how to easily incorporate more NEAT into your day.Resources Related to the PodcastRole of Nonexercise Activity Thermogenesis in Resistance to Fat Gain in Humans — James' overfeeding studyAoM Article: The Digestive Power of an After-Dinner WalkAoM Podcast #552: How to Optimize Your MetabolismAoM Article: The Importance of Building Your Daily Sleep Pressure

durée : 00:28:12 - L'Orchestre du Met (3/4) : James Levine transfigure l'orchestre - par : Christian Merlin - Quand on fait l'histoire d'un théâtre lyrique, on pense aux grands chanteurs qui s'y sont produits. Mais une maison d'opéra, c'est aussi un orchestre. Et si nous sortions de l'anonymat de la fosse celui du Metropolitan de New York, fondé en 1883, à travers ses chefs, ses musiciens, son répertoire ? - réalisé par : Marie Grout

Het is deze maand exact 15 jaar geleden, dat Esmeralda Sitompul Midden in Hilversum aan de Gijsbrecht van Amstel haar Studio wijZ startte …… Een praktijk waar je welkom bent voor beauty, je body en mind. Waarbij ze vorig jaar werd verkozen tot de winnaar van de Dr. Hauschka Award. Daarnaast is ze vaste luisteraar op haar weg van de studio terug naar huis …. Kortom, enkel dat laatste gegeven was al meer dan voldoende reden om Esmeralda uit te nodigen.    Ineke Hilhorst is TV Producent, documentairemaakster en nog veel meer. Ze werkte aan bekende Nederlandse TV  producties, waaronder Kookgek met Joop Braakhekke, en maakte prachtige portretten van onder anderen James Levine, en de befaamde pianiste Maria João Pires.  In 2017 werd ze Laarder van het jaar, niet in het minst vanwege haar betrokkenheid met Kunst en Cultuur binnen Het Gooi. Ze is betrokken bij Het Rosa Spierhuis in Laren …kortom.. wij gaan eens even met Ineke kletsen!    Museum Hilversum heeft nog tot  8 december de tentoonstelling “ World Press Photo  “  te bezichtigen! Maar dat is niet de enige tentoonstelling die in het museum hangt, Fleur van Muiswinkel directeur van het museum Hilversum is onze gast daar zij ook de komende expositie's wil toelichten o.a  die van Selma van der Bijl met de titel “Until we meet again “ die vanaf 14 december 2024 tot 9 februari 2025 is te bewonderen. Een prachtige recensie gaf het NRC over deze foto documentaire.

Since Christa Ludwig's death more than three and a half years ago, her reputation has only increased. A significant portion of that reputation rests on her prowess as a singer of Lieder, a repertoire she took quite seriously and on which she focused a good deal of her performing career, especially in later years. At the time of her death, I published two episodes in her honor, the second, a bonus one, focusing on her work as a recitalist. That episode, which I reframe and re-present today, includes a full program of Lieder in mostly live performances between 1961 and 1993. She sings songs by Schubert, Schumann, Brahms, Mahler, as well as a selection of German folksongs from a German television 1978 program hosted by the enormously popular Schlagertenor Peter Alexander. She is accompanied by Leonard Bernstein, Erik Werba, Irwin Gage, Geoffrey Parsons, and James Levine. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 2747: Emma Hogan explains how to extend the benefits of exercise beyond your workouts by embracing Non-Exercise Activity Thermogenesis (NEAT). Simple actions like walking more, taking the stairs, or even tidying up enthusiastically can significantly boost calorie burn and improve overall health, making your everyday routine more physically active and rewarding. Read along with the original article(s) here: https://www.lesmills.com/fit-planet/fitness/the-neat-effect/ Quotes to ponder: “It's no good powering through an early morning workout if all you're going to do is sit on your butt for the rest of the day.” “These somewhat trivial-sounding physical activities can actually have a remarkable impact on our metabolic rate and, as a result, stimulate greater energy expenditure over time.” “By moving regularly throughout your day you can keep LPL levels stable - and support your body to burn fat.” Episode references: NEAT research by Dr. James Levine: https://mayoclinic.org Learn more about your ad choices. Visit megaphone.fm/adchoices

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 2747: Emma Hogan explains how to extend the benefits of exercise beyond your workouts by embracing Non-Exercise Activity Thermogenesis (NEAT). Simple actions like walking more, taking the stairs, or even tidying up enthusiastically can significantly boost calorie burn and improve overall health, making your everyday routine more physically active and rewarding. Read along with the original article(s) here: https://www.lesmills.com/fit-planet/fitness/the-neat-effect/ Quotes to ponder: “It's no good powering through an early morning workout if all you're going to do is sit on your butt for the rest of the day.” “These somewhat trivial-sounding physical activities can actually have a remarkable impact on our metabolic rate and, as a result, stimulate greater energy expenditure over time.” “By moving regularly throughout your day you can keep LPL levels stable - and support your body to burn fat.” Episode references: NEAT research by Dr. James Levine: https://mayoclinic.org Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you do NEAT? NEAT is Non-Exercise Activity Thermogenesis (NEAT), a term introduced by Dr. James Levine to describe the energy expended through daily activities other than sleeping, eating, or structured exercise. In this episode, Jen talks about NEAT and how increasing NEAT is a practical approach for individuals aiming to improve overall health and manage weight.

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

On this episode, I spoke to composer James S. Levine and music supervisor Mark Wike about their work on The New Look.  James Levine's notable credits include FX Networks' American Horror Story, for which he received an Emmy Award-nomination for “Outstanding Music Composition for a Miniseries, Movie or a Special (Original Dramatic Score)” in 2014; Nip/Tuck; and Damages.  Mark Wike's music supervision credits include Hulu's Emmy Award-winning series by Steven Spielberg, Animaniacs; Twentieth Century Fox's The Greatest Showman, directed by Michael Gracey; and The Sitter, directed by David Gordon Green; FX Networks' Damages; and Netflix's Bloodline.  The series stars Ben Mendelsohn, Juliette Binoche, Maisie Williams and John Malkovich.

I have been juggling a number of brand new episode ideas for the coming weeks, but when I discovered that Sunday April 7 was the birthday of Marvis Martin, one of my favorite sopranos, I put all those ideas on the back burner and eagerly put together this birthday tribute to a singer who not only is celebrated as possessing one of the most beautiful voices of her generation, but who has also had a long, successful, and unconventional career. For whatever arbitrary reason, Marvis Martin made only a handful of major label recording releases, but, for us lucky persons who live in the age of YouTube, there are a growing number of gorgeous live recordings available that feature this artist in her prime. In some ways she reminds me of Veronica Tyler, whose career I charted in a popular episode of the podcast a few months ago. In the case of the highly respected and frankly marvelous Marvis Martin, we are able to personally present her with the flowers that she so richly deserves. I have curated a wonderful setlist today of mostly live material that includes representative selections from each of the platforms on which her career was focused: opera, concert, and recital, everything from Mozart and Handel to Copland, Rorem, and Barber; from selections from Porgy and spirituals, to Tchaikovsky, Strauss, and Korngold. My dear friend Jerry Hadley appears as a duet partner in a rare live Idomeneo performance and conductors Georg Solti, Henry Lewis, Vladimir Ashkenazy, James Levine, Charles Mackerras, Eve Queler, and Libor Pešek, among others, support this magnificent singer from the podium. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Neil is a renowned percussionist, accomplished music educator, imaginative product innovator, and successful entrepreneur. He is the founder and president of Grover Pro Percussion Inc., a market leader in the design, manufacture, and distribution of world-class percussion instruments.  At the young age of 23, Neil was appointed Principal Percussionist of the Opera Company of Boston, a position he held for seven seasons.  As his career progressed, he found himself in demand for all musical genres, including symphony, chamber music, ballet, opera, and commercial recordings.  Highlights of his collaborations include the Royal Ballet, Bolshoi Ballet, American Ballet Theatre, Dance Theatre of Harlem, Music from Marlboro, Indianapolis Symphony, Boston Musica Viva, and the Empire Brass. He was chosen to record the percussion tracks for Phillip Glass' film soundtrack for Mishima. In addition, Neil appears as a Boston Pops percussionist in the hit movie Blown Away, starring Jeff Bridges and Tommy Lee Jones.  He has toured with Music From Marlboro, Boston Symphony, Henry Mancini, Boston Symphony Chamber Players, and the Broadway production of The Pirates of Penzance.  Since 1977, he has performed, recorded, and toured with the world-famous Boston Pops, where he has made music under the batons of Maestros Arthur Fiedler, John Williams, and Keith Lockhart.  Having performed regularly in the percussion section of the Boston Symphony for over 35 years, he has worked with Maestros Seiji Ozawa, James Levine, Leonard Bernstein, Aaron Copland, Colin Davis, Charles Dutoit, Colin Davis, Neemi Jaarvi, Rafael Fruhbeck de Burgos, Mstislav Rostropovich, and Bernard Haitink. It is noteworthy that Neil has performed in over 1,500 concerts as a percussionist with the BSO & Boston Pops. Neil's percussive talents have been heard by thousands at renowned venues, such as Boston's Symphony Hall, Carnegie Hall, Chicago's Orchestra Hall, and festivals at Tanglewood, Hollywood Bowl, Wolf Trap, Blossom, and Ravinia.  In addition, he has performed for millions of listeners through television and radio broadcasts on the NBC, CBS, NHK, PBS, A&E and NPR networks.  At the request of composer John Williams, Neil joined the multi-media musical extravaganza, “Star Wars in Concert”, serving as Principal Percussionist on two legs of their North American Tour.   Neil Grover has written/co-authored five publications: Four Mallet Primer, Four Mallet Fundamentals, Art of Triangle & Tambourine Playing, Percussionist's Cookbook, and The Art of Percussion Playing, all published by Meredith Music.  Neil's innovative designs and cutting edge manufacturing techniques have set a new standard for the ergonometric functionality of modern day percussion instruments. Neil and his company have been featured in many publications, including: Percussive Notes, Modern Drummer, School Band & Orchestra, Musical Merchandise Review and on two episodes of the Discovery Channel's series How It's Made. Formerly the Chair of the Percussion Programs at both The Boston Conservatory and the University of Massachusetts-Lowell, today, Neil's students occupy leading positions in many top performing, educational and music business organizations. Things That Came Up:  -1:45 Owning ALL the percussion instruments -3:50 The magic of Zelda -6:00 Studied with the same teacher as Dom Famularo -7:00 Studying with Vic Firth  -11:10 “Classical musicians play with their eyes and jazz musicians play with their ears” -12:10 “Talent got you this far, perseverance will carry you through.” -12:45 Took AFM pension at age 65  -13:50 Contracting, composing and arranging as a new life chapter -15:10 Bradley Cooper's “Maestro” -16:35 Being a frustrated stand-up -17:40 Fred Buda: “Playing drum set in an orchestra is like swinging an elephant” -19:40 How union pensions work -26:05 At Tanglewood at the same time as Kenny Aronoff, with Leonard Bernstein conducting! -27:40 Playing bongos for Bernstein's “West Side Story” -30:50 Star Wars Tour: Drum Tech, 7 percussionists, 3 conductors and music from all 6 Star Wars films -38:00 Follow your dreams, no matter what!  -40:00 “The Accidental Entrepreneur” -41:00 The FIRST Grover Triangle  -48:20 Allowing Redmond to help develop the “Studio Pro Series” pop tambourines -54:00 Selling Grover Percussion to RBI Music  -60:40 On screen percussionist in the “Blown Away” film, starring Tommy Lee Jones  -61:30 Authoring Books  -63:30 Aerosmith! Glocks!  -69:30 Neil's favorite axe is the piatti (cymbals)  -74:00 “The Fave 5”  Follow:  www.groverpro.com Email: ngrover@groverpro.com The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits.  Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:     https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

  This episode of The Other Side of the Bell, featuring trumpeter and composer Anthony Plog, is brought to you by Bob Reeves Brass. Come visit John and the Bob Reeves crew at the National Trumpet Competition, March 8-11th! Anthony Plog has had a rich and varied international career in music—as a composer of operas, symphonic music, and chamber works; as an orchestral musician, soloist, and recording artist; and as a brass teacher and coach at some of the great music conservatories internationally and now online to students around the world. Composer The music of Anthony Plog has been performed in over 30 countries, and he has been the recipient of numerous grants and commissions. After beginning his career writing extensively for brass, he now works in many different musical forms. He has composed three children's operas, the first of which (How the Trumpet Got Its Toot) was premiered by the Utah Opera and Symphony. He completed a major tragic opera (Spirits) based on a Holocaust theme and recently finished a new opera about a drone operator suffering a nervous breakdown (The Sacrifice). Other new works include an oratorio about the first major environmental battle in the United States (God's First Temples), in versions for orchestra, symphonic band, and soprano song cycle; and a cantata using the stories of women who have recovered from sex trafficking, prostitution, and drug abuse (Magdalene). Musician Anthony Plog began studying music at the age of 10, and by 19 he was playing extra trumpet with the Los Angeles Philharmonic under conductors such as Zubin Mehta, James Levine, Michael Tilson Thomas, and Claudio Abbado. He has held positions with orchestras around the world, including the Los Angeles Chamber Orchestra, the Malmo Symphony, and the Basel Symphony, and has performed on tour with the Stockholm Royal Philharmonic Orchestra and Buenos Aires Symphony. As a soloist he has toured throughout the United States, Europe, Australia, and Japan, and has numerous solo recordings to his credit. Brass Teacher and Coach Anthony Plog has taught at some of the greatest music institutions around the world, including the University of Southern California, the Music Academy of the West, and Indiana University (U.S.), as well as the Schola Cantorum (Basel, Switzerland), the Malmo Music Academy (Sweden), the Academia di Santa Cecilia (Rome, Italy), the Norwegian Music Academy, and the Freiburg Musik Hochschule (Germany). His experience teaching in a wide variety of musical cultures, in addition to his work as a composer and former player, allows him to approach teaching and coaching with a unique and fresh perspective. His Plog Program, published by Balquhidder Music, is a seven-volume method book that has been a valuable addition to trumpet methodology. His new online teaching and coaching program is creating a new paradigm for international teaching. The program allows students worldwide to study with Anthony Plog and is available to players at all levels. Besides working individually with students on every brass instrument, he coaches chamber music groups, larger brass sections and ensembles, and wind ensembles, and he guides composers in writing for brass instruments. Anthony Plog lives and works in Freiburg, Germany.

SynopsisToday marks the birthday of American composer, choral conductor and educator Betty Jackson King. She was born in Chicago in 1928, where she earned her master's degree in composition at Roosevelt University. Her master's thesis was an opera, Saul of Tarsus, whose libretto was written by her father, the Rev. Frederick D. Jackson.King is perhaps best known for her sacred and choral works, especially her arrangements of spirituals, and, according to her family, her musical career reflected her deep religious faith. “Over my head, I hear music in the air, so there must be a God somewhere,” was her oft-stated creed.King also wrote secular works, including a ballet for children, chamber works, art songs and solo pieces for piano and organ. She was an active teacher and choral conductor in her native Chicago before moving to Wildwood, New Jersey, where she taught, conducted and composed for the rest of her life.A few years before King's death in 1994, soprano Kathleen Battle performed and recorded "Ride-Up in the Chariot,” one of Jackson's spiritual arrangements, at a televised Carnegie Hall concert of spirituals conducted by James Levine.Music Played in Today's ProgramBetty Jackson King (1928-1994): Spring Intermezzo, fr Four Seasonal Sketches; Helen Walker-King, vn; Gregory Walker, p. Leonard 339

This week's “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel's Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

In this episode, "Get NEAT With Us," we're talking New Year resolutions, ditching sodas, adding movement to our days, Patrick's journey into homeownership, and Godzilla. Join us for a quick, insightful chat on transforming your life in 2024, only on Northside NOW! ☛ Get Up! Why Your Chair Is Killing You and What You Can Do About It — Dr. James Levine's Book on Amazon ☛ Role of Nonexercise Activity Thermogenesis in Resistance to Fat Gain in Humans — Dr. James Levine's overfeeding study ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ☛ Did you know that you can be part of future podcast conversations too? Send in a comment, show idea or a question: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://anchor.fm/northsidenow/message⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect with us online: ►Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/northsidejackson⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ►Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/northsidenowpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ►Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.northsidejackson.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ►Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://anchor.fm/northsidenow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ #NorthsideNOWPodcast #NorthsideChurch #HappyNewYear #NorthsideJackson --- Send in a voice message: https://podcasters.spotify.com/pod/show/northsidenow/message

Do you have a goal to lose weight? If so, you're probably thinking about how you need to exercise more. And that can certainly help. But what about the 23 hours a day you're not at the gym? How much you move during those hours — from walking to the mailbox to fidgeting at your desk — can be just as important in winning the battle of the bulge.Here to explain the importance of what's called non-exercise activity thermogenesis, or NEAT, is Dr. James Levine, a professor, the co-director of the Mayo Clinic's Obesity Solutions Initiative, the inventor of the treadmill desk, and the author of Get Up!: Why Your Chair Is Killing You and What You Can Do About It. James explains how much more sedentary we are than we used to be and what happens to your body when, as the average American does, you spend two-thirds of your day sitting. He shares how doing the lightest kinds of physical activity, even standing more, can help you lose a significant amount of weight and improve other aspects of health, from your sleep to your mood. And we talk about how to easily incorporate more NEAT into your day.Resources Related to the PodcastRole of Nonexercise Activity Thermogenesis in Resistance to Fat Gain in Humans — James' overfeeding studyAoM Article: The Digestive Power of an After-Dinner WalkAoM Podcast #552: How to Optimize Your MetabolismAoM Article: The Importance of Building Your Daily Sleep Pressure

durée : 00:29:16 - Disques de légende du jeudi 26 octobre 2023 - L'opéra Otello est considéré comme le chef-d'œuvre suprême de Verdi. Cette œuvre correspond parfaitement au tempérament de James Levine, passionnée, violente, pleine de contrastes.

Fantasia is a 1940 American animated musical anthology film produced and released by Walt Disney Productions, with story direction by Joe Grant and Dick Huemer and production supervision by Walt Disney and Ben Sharpsteen. The third Disney animated feature film, it consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies who introduces each segment in live action.   Fantasia 2000 is a 1999 American animated musical anthology film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. Produced by Roy E. Disney and Donald W. Ernst, it is the 38th Disney animated feature film and sequel to 1940's Fantasia. Like its predecessor, Fantasia 2000 consists of animated segments set to pieces of classical music. Celebrities including Steve Martin, Itzhak Perlman, Quincy Jones, Bette Midler, James Earl Jones, Penn & Teller, James Levine, and Angela Lansbury introduce a segment in live action scenes directed by Don Hahn.   Opening Credits; Introduction (1.00); Background History (15.06); Fantasia (1940) Film Trailer (18.19); Opening Presentation (21.15); Let's Rate (41.33); Introducing Our Second Feature (43.40); Fantasia 2000 (1999) Film Trailer (46.11); Lights, Camera, Action (48.12); How Many Stars (1:19.57); End Credits (1:24.29); Closing Credits (1:25.46)   Opening Credits– Epidemic Sound – Copyright . All rights reserved   Closing Credits:  The Age of Not Believing  by Angela Lansbury.  From the album Bedknobs and Broomsticks Original Soundtrack.  Copyright 1971 Disney Records ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.

SynopsisBy the time of his death in 1998, pop singer Frank Sinatra was such a domineering figure in his field that he was known as “The Chairman of the Board.” By the time of his death in 1992, the same nickname might have applied to the American composer William Schuman, who was, at various times, director of publications for G. Schirmer, president of the Juilliard School, president of Lincoln Center, and on the board of many other important American musical institutions. William Schuman even looked the part of a distinguished, well-dressed CEO. Oddly enough, he came rather late to classical music.Schuman was born on today's date in 1910, and, as a teenager in New York City, was more interested in baseball than music, even though his dance band was the rage of Washington High School. It was with some reluctance that 19-year old Billy Schuman was dragged to a New York Philharmonic concert conducted by Arturo Toscanini. The program included a symphony by someone named Robert Schumann, and Billy was pretty impressed. A few years later, in 1933, when he heard the First Symphony of the contemporary American composer Roy Harris, Schuman was hooked, and soon was writing concert music himself. By 1941, when his Third Symphony premiered, Schuman was recognized as a major talent, and in 1943 he was awarded the first Pulitzer Prize for Music.Music Played in Today's ProgramWilliam Schuman (1910-1992) Symphony No. 3 New York Philharmonic; Leonard Bernstein, conductor. Sony Classical 63163Robert Schumann (1810 – 1856) Symphony No. 1 (Spring) Berlin Philharmonic; James Levine, conductor. DG 435 856Roy Harris (1899-1979) Symphony No. 1 Louisville Orchestra; Jorge Mester, conductor. Albany/Louisville First Edition 012

SynopsisOn today's date in 1882, the first performance of Richard Wagner's new opera “Parsifal” took place at the Bayreuth Festival in Bavaria. In the audience was a 25-year old American named Gustav Kobbé, an ardent opera fan who would go on to write “Kobbé's Complete Opera Book,” a standard reference work on the subject.As Kobbé watched the opening scene of Parsifal, his gaze became fixed on one spot of the painted scenery, depicting a pile of rocks. Was that Wagner's face painted on one of the rocks? Or was that Wagner himself, staring out at the singers on stage? During the intermission, Kobbé asked others if they had seen what he had, but they just looked at him as if the heat of the Bavarian summer had affected the young American's brain.But after the opera Kobbé asked one of the singers, who was surprised at his sharp eyesight, but confirmed what he saw. To ensure that singers followed his specific directions where to stand and when to move, Wagner had, in fact, been standing on stage amid the painted rocks. To all eyes but Kobbé's, Wagner's craggy, sun-tanned face had blended in perfectly with the painted scenery.Music Played in Today's ProgramRichard Wagner (1813 - 1883) Act I excerpt, fr Parsifal Metropolitan Opera Orchestra; James Levine, conductor. DG 437 501

梁思成当年在独乐寺的考察，除了对独乐寺的观音阁和山门进行了详细的研究和测绘之外，还有一个非常重要的成果，就是他揭开中国古建筑的另一套语言体系，更棒的是把这套中国古建筑语言体系和西方建筑语言体系进行了对比和勾连。非常之妙！本期番外就来说说中国古建筑的这个「底层代码」。【特别说明：关于节目中提到的「栔」这个字的读音】《营造法式》原文对其有音注，卷 1《总释》上「材」条云：「《说文》：栔，刻也。栔，音至」。但后世对这个字的读音多有争论，也有学者认为应该读「qì」，但目前暂无最终结论。因此本期节目中，我们仍暂时选择了「zhì」这个读音。> 八等材栔示意图> 不同部位用材示意图> 不同部位用材示意图【本期节目参考资料】1.《蓟县观音阁山门考》（《梁思成全集》第一卷）2.《营造天书》王南3.《〈营造法式〉辞解》丁垚4.《图像中国建筑史》梁思成【节目主播/制作】VC微博: @VividCrystal https://weibo.com/u/1241505120小红书：@午夜飞行VC https://www.xiaohongshu.com/user/profile/572a84ee50c4b435fe74744e【节目互动】微博：@午夜飞行Official https://weibo.com/u/7298580324公众号：午夜飞行【本集音乐】All music credits to:1. "The Trout": 2. Andante - Piano Quintet in A, D.667 - James Levine, Gerhart Hetzel, Wolfram Christ2. The Sea Temple - Pravana【欢迎加入听友群】入群方式 A：微信添加小助手 Amber (ID: hellomarcast)，拉你入群入群方式 B：关注公众号「午夜飞行」 ，回复「听友群」三个字，即可获取入群通道【关于节目】《午夜飞行》是一档关注旅行、城市、文化和生活的播客节目，由 VC 主持/制作，力求用声音将多彩的城市故事带给你。微博：@午夜飞行Official / 公众号：午夜飞行本播客由 Marcast Media 荣誉出品，也欢迎你订阅收听 Marcast 旗下的其他播客节目。你可以通过以下方式找到我们：- 商务合作联系：hello@marcastmedia.com- 微博：@Marcast https://weibo.com/u/2743283854- 公众号：Marcast- 小红书：@Marcast新播客- 微信加听友群：hellomarcast- 欢迎订阅 Beads Newsletter https://beads.beehiiv.com 每周一封精选英文播客内容分享，为你提取、总结那些 90% 的人听不到的、隐藏在声音里的一手信息和知识，和你一起拓展认知和视野，每周一上午发送。© 2023 Marcast Media

You won't want to miss this MOJO minute, Team MOJO! We're discussing a ground-breaking concept, Non-Exercise Activity Thermogenesis (NEAT), straight from our recently released Academy book review , "Sitting Kills and Moving Heals" by Dr. Joan Vernikos. Key Points from the Episode:Experience the shift in your perspective on fitness as we unravel how simple, frequent movements can significantly contribute to your health and wellness.James Levine's revolutionary concept of NEAT introduces a fresh outlook on energy expenditure that challenges the traditional mindset of high-intensity exercises being the primary source of burning calories.Get ready to see your everyday activities in a new light! We're going beyond the typical health discussion with insights from Dr. Joan Vernikos' work with space returned astronauts, revealing an unexpected health approach. You'll learn how the lack of NEAT is connected to obesity and metabolic diseases, and how it improves not just physical, but cognitive performance.We end with a call to action to challenge gravity, disrupt your sedentary lifestyle, and embrace the healing power of movement. Remember, as Dr. Joan says, sitting may kill us, but moving can heal us. Tune in and begin your journey towards better health today!Other resources: More goodnessGet your FREE Academy Review here!Want to leave a review? Click here, and if we earned a five-star review from you **high five and knuckle bumps**, we appreciate it greatly, thank you so much!Because we care what you think about what we think and our website, please email David@teammojoacademy.com, or if you want to leave us a quick FREE, painless voicemail, we would appreciate that as well.

Un Día Como Hoy 23 de Junio. Nace: 1668: Giambattista Vico, filósofo italiano (f. 1744). 1889: Anna Ajmátova, poeta rusa. 1943: James Levine, director de orquesta estadounidense. 1970: Yann Tiersen, músico y compositor francés. Fallece: 1836: James Mill, filósofo e historiador escocés (n. 1773). 1953: Albert Gleizes, pintor francés (n. 1881). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

We've all heard advice like "take the stairs!" or "park in the furthest spot," but can this stuff actually make a difference? What's the point of movement if it's not leaving you out of breath, dripping in sweat, and sore the next day? This week, we talk to Dr. James Levine about the powerful health (and non-health) benefits of non-exercise. Get ready to bust out the bike desk. Preorder our book! Remember to head to our website for our show notes! Follow us on Instagram @foodweneedtotalk. Find Juna on Instagram @theofficialjuna, and @JunaGjata on YouTube and TikTok.

In this first part of a two-part episode, we look at the variety of ways that John Williams creates the musical world of Harry Potter. From school songs to Quidditch, from dragons to goblins, from ghosts to moving staircases, John Williams combines the rich late-romantic orchestral sound with the slightly odd notes resembling 20th century composers such as Stravinsky and Prokofiev to create a world that seems both familiar and different. He also expands in the second and third film from celeste and choir to adding instruments from the Baroque and Renaissance, combining new sounds with old. This episode focuses solely on the first three movies composed by John Williams.Host: Ruth MudgeMusic included in podcast:"The Arrival of Baby Harry" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"The Sorcerer's Apprentice" - The Sorcerer's Apprentice, performed by the Berlin Philharmonic & James Levine, music by Paul Dukas, 1987"Diagon Alley/The Gringotts Vault" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Act 1, Scene III, The Street Awakens" - Romeo & Juliet, Op. 64, performed by the London Symphony Orchestra & Valery Gergiev, music by Sergei Prokofiev, 2010"Platform Nine-and-three-quarters/The Journey to Hogwarts" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Hogwarts Forever!/The Moving Stairs" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Entry into the Great Hall/The Banquet" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"The Quidditch Match" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Christmas at Hogwarts" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Olympic Fanfare and Theme" - Celebrating John Williams (Live at Walt Disney Concert Hall, Los Angeles 2019), performed by Los Angeles Philharmonic & Gustavo Dudamel, music by John Williams, 2019"The Norwegian Ridgeback/A Change of Seasons" - Harry Potter and the Sorcerer's Stone (Original Motion Picture Soundtrack), music by John Williams, 2001"Fawkes is Reborn" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Dueling the Basilisk" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Meeting Aragog" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Moaning Myrtle" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Knockturn Alley" - Harry Potter and the Chamber of Secrets (Original Motion Picture Soundtrack), music by John Williams & William Ross, 2002"Pavana la Bataglia (Crumhorns & Ensemble)" - Dictionary of Medieval & Renaissance Instruments, performed by Christian Mendoza & Orchestra Antiqua Musica, music by Anonymous, 2002"Double Trouble" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"Secrets of the Castle" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"The Portrait Gallery" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"Quidditch, Third Year" - Harry Potter and the Prisoner of Azkaban (Original Motion Picture Soundtrack, music by John Williams, 2004"Apparition on the...

Hello from Juilliard! This week, our friend Vinson Cunningham, award-winning critic at The New Yorker, joins Tammy and Jay to discuss 2022's wokest(?) film, “Tár.” (Spoiler alert!) [1:00] Before we get into it, we address Kyrie Irving's request for a trade from the Brooklyn Nets… and what makes him so annoying. (We recorded before Irving's move to the Dallas Mavericks was announced.) Plus: What does his situation say about workers' rights, in the context of highly-compensated NBA players? [12:50] In our main segment: “Tár,” the dark portrait of a high-powered orchestra conductor's fall from grace, starring Cate Blanchett. How does the film see the dangers of artistic personas (with a #MeToo plotline reminiscent of James Levine's abuses), “cancel culture” (per Richard Brody's review), and labor relations? And how do the movie's heavy-handed academic scenes compare to Vinson's experience as a college teacher? [33:40] The film also critiques a specific type of (aging? resentful? arrogant?) second-wave feminist, as Zadie Smith argues in her illuminating piece in the New York Review of Books. We also discuss Becca Rothfeld's analysis of “Tár” and the obsession with reputation management. Plus: the orientalist narrative of a Western (anti-)hero finding herself in the East. Thanks for listening! Subscribe on Patreon or Substack to join our Discord and participate in an upcoming movie night with Jay, Tammy, and fellow listeners. As always, you can follow us on Instagram, TikTok, and Twitter, and stay in touch via email at timetosaygoodbyepod@gmail.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit goodbye.substack.com/subscribe

Synopsis On today's date in 1862, Giuseppe Verdi's opera La Forza del Destino or The Force of Destiny had its premiere at the Imperial Theater in St. Petersburg, Russia. Verdi and his wife, Giuseppina, were present for the opening night. We're not sure what the outdoor temperature was in St. Petersburg that November evening, but it was something that the Verdis carefully considered before agreeing to attend. Responding to a friend's letter describing a Russian winter, Giuseppina wrote: “If I were not afraid of committing forgery, I would alter that imposing figure of 22 below zero which will make Verdi open his eyes wide in fright… As for myself, I took refuge under the stove… In any case, I shall try and persuade him to expose his nose to the danger of freezing in Russia.” Perhaps in artistic compensation, the story of Forza is set in sultry Spain—and after the premiere in St. Petersburg, the Verdis did indeed set off for warmer climates of Rome and Madrid, where the new opera was to have its next performances. In the early years of the 20th century, La Forza del Destino—like most of Verdi's works—was seldom staged, but in the 1920s it was successfully revived, and its overture has become a concert hall favorite. Music Played in Today's Program Giuseppe Verdi (1813-1901) Overture and Act II excerpt, from La Forza del Destino John Alldis Choir; London Symphony; James Levine, conductor. RCA/BMG 39502

Are you standing up right now? Believe it or not, your chair might be slowly killing you… Joining us today is the author of the book “Get Up,” by Dr. James Levine. According to Levine, who is the co-director of the Mayo Clinic-Arizona State University obesity initiative and inventor of the “treadmill desk,” for every hour we spend sitting in our chairs, we lose two hours of our lives. He also believes excessive sitting is more dangerous to your health than smoking. So how many hours are you currently sitting during the day? Enjoy this fascinating episode with Dr. Levine.   ★ - (Facebook Community) Join our free and private Alcohol Free Lifestyle Community: www.alcoholfreelifestyle.com/facebook ★ - (Accountability & Support) Speak verbally to a certified Alcohol-Free Lifestyle coach to see if, or how, we could support you having a better relationship with alcohol: https://www.alcoholfreelifestyle.com/schedule ★ - (YouTube Channel) Watch James's latest videos at the Alcohol Free Lifestyle YouTube channel: www.alcoholfreelifestyle.com/youtube ★ - (Liver Cleanse) Clean up your liver with our AFL-approved, all-natural supplement, Loving Liver: https://www.swanvitality.com/collections/all

We've all heard advice like "take the stairs!" or "park in the furthest spot," but can this stuff actually make a difference? What's the point of movement if it's not leaving you out of breath, dripping in sweat, and sore the next day? This week, we talk to Dr. James Levine about the powerful health (and non-health) beneifts of non-exercise. Get ready to bust out the bike desk.

She needs no introduction — but in magazine history, Tina Brown is rightly deemed a legend, reviving Tatler, Vanity Fair and The New Yorker, before turning to the web and The Daily Beast (where I worked for her). Her new book is The Palace Papers. We talked journalism, life and royals.You can listen to the episode right away in the audio player embedded above, or right below it you can click “Listen in podcast app,” which will connect you to the Dishcast feed. For two clips of our convo — on Meghan Markle’s epic narcissism, and why women make the best monarchs — head over to our YouTube page. Having Tina on the pod was the perfect excuse to transcribe our popular episode with Michael Moynihan, who used to work for Tina at The Daily Beast — which also hosted the Dish for a few years. So we’re all old friends. From the Moynihan chat:Andrew: I was talking to Tina Brown about this not that long ago, with the great days of the big magazines in the '80s and '90s. Really, when you look back on that time, it was an incredible festival of decadence and clearly over the top before the fall.Michael: I love Tina. I did a thing — you can look this up — an interview with her, when her Vanity Fair Diaries came out, for The Fifth Column. Just Tina and I sat down and talked for an hour and a half, and it was one of the best things I think we’ve recorded, and got one of the best responses. Because people miss those stories.Perhaps Bill Kristol should check out the clip with Moynihan on how to change your mind on stuff you get wrong:A listener looks back to last week’s episode:Wonderful interview with Douglas Murray, with the two of you riffing off each other with brilliant dialogue. Very warm and affirming as well. I particularly enjoyed your discussion of the religious dimension as one aspect of our present dilemma. I know you would want to provide variety for the Dishcast, but please consider having him on again.Another fan:This was the most memorable episode in a long time (although they are all great). Of course, your dialogue was choir-preaching, and so I need to be careful in avoiding confirmation bias. That said, I found Murray’s elegant way of encapsulating the obvious — which I fail to express myself — truly invigorating. I rewound and listened to many parts several times over. I ordered his book today.Another listener dissents:I find the armchair psychoanalysis regarding ressentiment — as the organizing principle of what is happening in our culture today — to be one of the least compelling arguments made in the episode. Why not go ahead and attribute our perpetual unwillingness in the West to recognize what is great about it to Christianity’s concept of original sin? Or maybe read psychoanalytic literature on why an individual or group of people who are objectively improving might hold onto beliefs of the self or society as rotten? These seem just as likely as Nietzsche’s argument. Ultimately, what a person speculates to be the primary motivator of another person or group reveals a lot. Your speculation that it’s mostly ressentiment suggests you want or need to demonize the CRT crowd. This is tragic given that this is precisely what you and Douglas accuse the CRT crowd of doing. Another listener differs:I don’t agree with everything you and Douglas Murray write, but thank you for talking about the resentment and bitterness that’s driving politics and culture today. It’s gone completely insane. I used to work for a small talent agency, and during the pandemic I coached some actors over Zoom. During the George Floyd protests, one of my clients was up watching the news all night, not getting any sleep. I told her, look, you want to be informed and want to help. But you have to take care of yourself first or you’re no help to anyone. Go to bed and catch up on the news tomorrow. People criticized me for this kind of advice, saying I was privileged, that I just wanted to look away and not examine myself for my own inherent racism, etc. I couldn’t understand why people were being so unreasonable.I’m also a Mormon. After George Floyd was murdered, our ward started to discuss racism. Mormonism has a checkered past when it comes to things like Black men and the priesthood. Or even language in some of the scriptures. These are important conversations that our church needs to have. There were good things that happened, like Black people in the ward shared more about their experiences during meetings. But almost immediately it became weird. The women’s group did a lesson on Robin DiAngelo’s “White Fragility,” for example. We didn’t actually ever talk about the things I was hoping we’d talk about — how Brigham Young stopped Black men receiving the priesthood, for example. We were just told we all needed to acknowledge our white privilege and feel guilty about it. There was a part about redlining. There was no acknowledgment that some of the white people in this ward lived in low-income housing, basically had nothing, and had been stressed even further by the pandemic. It just felt unnecessarily divisive. I have no idea what the Asian members made of this talk, because it basically excluded them. There were so many holes in these theories, but I wasn’t brave enough to point them out.So it was a real relief to hear you and Murray talk about the way these ideas have infiltrated churches. The Mormon thing is typically like, “God wants you to be happy. Live this structured life, show compassion, work hard, love your family, and be happy.” But the DiAngelo ideas felt like, “you can’t even be saved, at least not if you’re white. Some people don’t deserve to be happy; they should only feel guilt.” It was easier to bring in a fad book and talk about property values than to talk about the awful passage in the Book of Mormon where it says dark-skinned people are cursed, but other people are “white and delightsome.” I felt like the second the door opened to have a serious conversation about the church and race, they immediately jumped the shark instead.From a fan of opera and ballet:Douglas Murray mentioned Jessye Norman and how her obituary was racialized. Well, in January of 1961, Leontyne Price made her Metropolitan Opera debut, and she and Franco Correlli received an ovation that was around 50 minutes long ... possibly the longest in Met history, or among two or three longest. There have been so many great black singers at the Met, such as Shirley Verrett, Kathleen Battle (who was loved by James Levine but whose voice I never liked), Eric Owens, Grace Bumbry, and many others. Here’s a snip of Price’s Met debut:Balanchine choreographed Agon (music by Stravinsky), arguably his greatest dance, for Diana Adams (white) and Arthur Mitchell (black) in 1957. They danced the pas de deux, which is an erotic tangle of bodies. Balanchine wanted the black/white tension. Here is a bit of it:And to my beloved Jessye Norman, whom I saw only once, here she is at her best:Another listener rolls out some poetry:I greatly enjoyed your conversation with Douglas Murray. He is fierce! Your mention of Clive James’s “The Book of My Enemy Has Been Remaindered” reminded me of a similarly minded poem from Nina Puro. (I suspect one of them inspired the other.) I LONG TO HOLD THE POETRY EDITOR’S PENIS IN MY HANDand tell him personally,I’m sorry, but I’m goingto have to pass on this.Though your pieceheld my attention throughthe first few screenings,I don’t feel it is a good fitfor me at this time. Please know it receivedmy careful consideration.I thank you for allowingme to have a look,and I wish youthe very best of luckplacing it elsewhere.Shifting away from the Murray episode, here’s a followup from a intrepid Dishhead:I was excited to see my letter published on the violent toll homelessness takes on communities recently. I’ll be listening to the podcast with Maia Szalavitz soon, and I’ve got Johann’s book on harm reduction to read as well. (I loved the episode with Johann, bought his new book, loved it, and stopped being so online for about a week before backsliding ...)Shortly after I wrote that last letter to you, I realized that I wasn’t satisfied with just writing indignant letters about the bloody cost of complacency on homelessness. It’s really the story of Ahn Taylor — a sweet 94-year-old lady stabbed by a homeless man as she was walking in her neighborhood — that made me understand that complaining is not enough.So I’ve started a non-profit, Unsafe Streets, to take on this challenge. It’s sort of a “Take Back the Night”-style public safety crusade. It’s early days still, but we have a website, including pages for NYC and San Francisco, a Twitter feed, and a crowdfunding campaign. Next on my agenda is to create a page for Los Angeles, a detailed policy platform, and then to recruit a board and apply for 501c3 status.I’ve been keeping up with the Dish when I can (LOVING the conversation with Jonathan Haidt, and I HIGHLY recommend this complementary Rogan episode.) I’ve been busy with the kids and trying to get Unsafe Streets going in my free minutes.She follows up:I just listened to Maia’s episode, and I am pretty unsatisfied with her proposed solutions. Non-coercive acceptance and decriminalization is fine for people who are using drugs they bought with their own money in the privacy of their home. But public drug use, public intoxication, and the associated “quality of life” crimes (public defecation, indecency, etc.) make public spaces unsafe and uncomfortable for everyone else. Laws against these crimes should be enforced, which means arresting people and taking them to jail or some kind of treatment. Injecting fentanyl and passing out on the sidewalk is a very antisocial and harmful behavior, and should not be “decriminalized.”I agree with Maia that this is a complicated mix of addiction and severe mental illness. But I don’t think the cost of housing argument holds up. (A brief scan of the news will show you that there in fact ARE homeless encampments in West Virginia.) I think she was unfair in her characterization of Michael Shellenberger’s proposal, which includes tons of resources to expand access to and quality of treatment. Overall, Maia’s perspective is very focused on the benefit to the addict, but discounts the costs to the surrounding community. Thanks for keeping a focus on this subject!Another listener looks to a potential future guest:Hello! You invite your readers to submit guest ideas here. I submit Kevin D. Williamson — another nuanced “conservative,” Roman Catholic, Never Trumper, and admirer of Oakeshott. Oh, and he was fired after five minutes at The Atlantic for a previous statement about abortion.Thanks for the suggestion. Lastly, because we ran out of room this week in the main Dish for the new VFYW contest photo (otherwise the email version would get cut short), here ya go:Where do you think it’s located? Email your guess to contest@andrewsullivan.com. Please put the location — city and/or state first, then country — in subject line. Proximity counts if no one gets the exact spot. Bonus points for fun facts and stories. The winner gets the choice of a VFYW book or two annual Dish subscriptions. If you are not a subscriber, please indicate that status in your entry and we will give you a free month subscription if we select your entry for the contest results (example here if you’re new to the contest). Happy sleuthing! Get full access to The Weekly Dish at andrewsullivan.substack.com/subscribe

Today in honor of Women's History Month and the people of Ukraine, I present a compendium of eight different Liedersängerinnen singing Franz Schubert's song cycle Winterreise, set to poems by Wilhelm Müller. When I am in despair, I turn to Schubert, who, even in such a bleak piece as Winterreise, offers incomparable insight and empathy into our shared humanity. Though it is often held that this is a cycle that should sung exclusively by men, these eight women put the lie to that faulty premise. Featured singers are Lois Marshall, Brigitte Fassbaender, Lotte Lehmann, Elena Gerhardt, Christa Ludwig, Margaret Price, Mitsuko Shirai, and Alice Coote. Pianists are Paul Ulanowsky, Erik Werba, James Levine, Hartmut Höll, Julius Drake, Coenraad Bos, Aribert Reimann, Wolfram Rieger, Anton Kuerti, and Thomas Dewey. This is an episode that I have been planning for some time, and with so many people forced to take precarious and life-threatening winter journeys, there was no time like the present than to share this music, and these singers, with you. Warning: This is at least a six-hanky episode! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Rational Breaks: a better way to work, published by bfinn on January 7, 2022 on LessWrong. HOW can you use your work time better? Many people waste their days only half-working, and not accomplishing much. It's more productive to alternate between bouts of highly focused work, and breaks to recover. Various time management techniques propose working like this for fixed time periods, e.g. 25 minutes, followed by a set break. But I think they're mistaken. Fixed time periods are unnatural and mechanical; thoughtful, creative work doesn't watch clocks. And you can't work with other people this way either, as their meetings, calls and interruptions won't fit in with your timeslots. Here's a different approach: let's ignore how long you work, and consider breaks instead. Your day consists of both; they're two sides of the same coin. So instead of working in fixed periods, why not just limit your break time? This guarantees how long you'll work for – the rest of the day – while leaving you complete freedom in how to divide it up. This is the idea behind my new technique, provisionally called Rational Breaks. You work for as long or as short as you like, until you want a break. Then break for up to one-third of the time you've just worked. So after 15 minutes' work, you can stop for up to 5 minutes. If you work for an hour, you've earned a good 20-minute break. And if a task bores you after 3 minutes, you can even take a break then – but only for 1 minute! Breaks reward you for working, but long breaks have to be earned. This kind of pattern is natural; research confirms that people tend to take longer breaks after working for longer. Don't take five, take one-third! Rational Breaks have many benefits (which I'll go into), but the key one is flexibility. They adapt to your attention span, energy, and schedule, as well as to other people. You can use ratios other than one-third, if you like. (Ratio, Rational, see?) And Rational Breaks aren't just for your day-job – they suit anything that needs focus or effort, such as studying, practicing an instrument, personal admin, writing, or fitness training. But before going into depth, let's look at other time management systems. (If you don't use these, you can skip to the following section, Rational Breaks.) Clock-work The best-known system is Pomodoro, named after a tomato-shaped timer. It advocates working in 25-minute stints, ending with an alarm and a 5-minute break, or occasionally 20–30 minutes. (Which is also how long it takes to read Pomodoro's trademark guidelines.) In fact, there's nothing new about working for fixed periods until an alarm goes off. For centuries, schools have taught lessons this way, ending with a bell.[1] At work, fixed periods simplify scheduling; create short-term deadlines to focus your mind; and provide regular breaks, to maintain your energy, attention, decision-making, performance and well-being. But working against the clock like this – let's call it ‘clock-work' – has problems. How long should each stint last? There's no consensus between experts, research and systems at all: Productivity author Mark Forster recommends starting with 5-minute bursts, and progressively extending them to 40 minutes. Medical professor Dr James Levine suggests 15 minutes' work at a time. Pomodoro, as mentioned, advocates 25 minutes. 30- and 60-minute stints worked equally well for computer operators in one study. School classes typically last 30-90 minutes, and it's unclear what length is best. Time-tracking software DeskTime found their most productive users average 52 minutes' work, plus a 17-minute break. The best music students practised for about 80 minutes at a time in a well-known study. The Ultradian system advocates working for 90 minutes, and it's based on biological cycles lasting up to two hours. This hug...

Link to original articleWelcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Rational Breaks: a better way to work, published by bfinn on January 7, 2022 on LessWrong. HOW can you use your work time better? Many people waste their days only half-working, and not accomplishing much. It's more productive to alternate between bouts of highly focused work, and breaks to recover. Various time management techniques propose working like this for fixed time periods, e.g. 25 minutes, followed by a set break. But I think they're mistaken. Fixed time periods are unnatural and mechanical; thoughtful, creative work doesn't watch clocks. And you can't work with other people this way either, as their meetings, calls and interruptions won't fit in with your timeslots. Here's a different approach: let's ignore how long you work, and consider breaks instead. Your day consists of both; they're two sides of the same coin. So instead of working in fixed periods, why not just limit your break time? This guarantees how long you'll work for – the rest of the day – while leaving you complete freedom in how to divide it up. This is the idea behind my new technique, provisionally called Rational Breaks. You work for as long or as short as you like, until you want a break. Then break for up to one-third of the time you've just worked. So after 15 minutes' work, you can stop for up to 5 minutes. If you work for an hour, you've earned a good 20-minute break. And if a task bores you after 3 minutes, you can even take a break then – but only for 1 minute! Breaks reward you for working, but long breaks have to be earned. This kind of pattern is natural; research confirms that people tend to take longer breaks after working for longer. Don't take five, take one-third! Rational Breaks have many benefits (which I'll go into), but the key one is flexibility. They adapt to your attention span, energy, and schedule, as well as to other people. You can use ratios other than one-third, if you like. (Ratio, Rational, see?) And Rational Breaks aren't just for your day-job – they suit anything that needs focus or effort, such as studying, practicing an instrument, personal admin, writing, or fitness training. But before going into depth, let's look at other time management systems. (If you don't use these, you can skip to the following section, Rational Breaks.) Clock-work The best-known system is Pomodoro, named after a tomato-shaped timer. It advocates working in 25-minute stints, ending with an alarm and a 5-minute break, or occasionally 20–30 minutes. (Which is also how long it takes to read Pomodoro's trademark guidelines.) In fact, there's nothing new about working for fixed periods until an alarm goes off. For centuries, schools have taught lessons this way, ending with a bell.[1] At work, fixed periods simplify scheduling; create short-term deadlines to focus your mind; and provide regular breaks, to maintain your energy, attention, decision-making, performance and well-being. But working against the clock like this – let's call it ‘clock-work' – has problems. How long should each stint last? There's no consensus between experts, research and systems at all: Productivity author Mark Forster recommends starting with 5-minute bursts, and progressively extending them to 40 minutes. Medical professor Dr James Levine suggests 15 minutes' work at a time. Pomodoro, as mentioned, advocates 25 minutes. 30- and 60-minute stints worked equally well for computer operators in one study. School classes typically last 30-90 minutes, and it's unclear what length is best. Time-tracking software DeskTime found their most productive users average 52 minutes' work, plus a 17-minute break. The best music students practised for about 80 minutes at a time in a well-known study. The Ultradian system advocates working for 90 minutes, and it's based on biological cycles lasting up to two hours. This hug...

Lisa speaks to world renowned operatic tenor Sean Panikkar about his journey to the opera stage, his passion for his role as a father, his experience as a finalist on AGT with Forte , his friendship with Josh Page and how if he hadn't met his wife he would have pursued his passion as a civil engineer. Learn how  this extraordinary artist keeps himself balanced in all his roles in life and work.Sean Panikkar continues “to position himself as one of the stars of his generation… His voice is unassailable—firm, sturdy and clear, and he employs it with maximum dramatic versatility” [Opera News].  The American tenor of Sri Lankan heritage made his Metropolitan Opera debut under the baton of James Levine in Manon Lescaut (commercially available on DVD on EMI), and his European operatic debut in Mozart's Zaïde at the Aix-en-Provence Festival in a production directed by Peter Sellars and conducted by Louis Langrée (commercially available on DVD on Opus Arte).Sean Panikkar is a member of Forte, the operatic tenor group combining voices from different cultures into one incredible sound.  The trio was created and debuted for the first time ever on America's Got Talent and had never met until only days before their first audition. During the summer 2013 broadcasts of America's Got Talent, Forte was seen and heard by tens of millions of television viewers in national broadcasts on NBC.  Their self-titled debut recording on Columbia Records was released in November 2013 and a follow-up recording, The Future Classics, was released in 2015.IG: @panikkarTwitter: @seanpanikkarFORTE:  FB https://www.facebook.com/ForteTenorsCheck out Brother's Page@TenorJoshPage | @zaachpage

Wake up, drive to work, sit for eight hours, drive home, order dinner delivery, and then plop on the couch for some much-needed zone out time. Sound familiar? As a society, being sedentary has become the norm and the negative health effects are starting to catch up. ITN Founder Cynthia Garcia is diving into how being sedentary affects us physically, mentally and spiritually, and simple tips for how to create a more active lifestyle.   According to Dr. James Levine, author of Get Up! Why Your Chair Is Killing You and What You Can Do About It, life expectancy decreases by 22 minutes for every one hour spent watching television. Luckily, there are a few easy ways that can radically change your life, like doing light housework or walking on a treadmill while you watch your favorite show.    Being sedentary doesn't just affect adults, though. Nearly two thirds of our children are insufficiently active. Cynthia shares tips for how to get the whole family off the couch, like her family's post-dinner walks around the neighborhood. Listen in to learn more about the health benefits of an active lifestyle and ways to add meaningful movement into your life today!    In this episode, you'll discover:    Surprising statistics about how being sedentary negatively affects your overall health  Ways to approach movement in a sustainable way  Why a standing desk isn't the magic solution to society's sedentary epidemic  Cynthia's “3 S's” method to get moving during the work day  Simple lifestyle shifts that you can implement today    Important Links: Show notes for this episode Transcripts for this episode  Resources Mentioned: Transformation Generation Facebook group Learn more about becoming a Certified Transformational Nutrition Coach Watch the Dream Career video series  Follow Us: Visit our website Follow us on Instagram Follow us on Facebook Connect with ITN student, Jessica Davis, on Instagram

I'm away again this week (normal service will be resumed next week), so I'm releasing another behind the scenes podcast in place of the normal Geektown Radio podcast. The interview this week (recorded in-person for a nice change!) features composer Mike Barnett, who chats about a couple of his upcoming projects - 'Action Pack', which is a preschool animated superhero series coming to Netflix in January, and animated film 'Bear Grylls Young Adventurer: Endangered'.Mike is a musician and composer of film, television and video games who, over the years, has garnered a reputation as a musical powerhouse working with some of the biggest companies in the entertainment industry.Mike scores 'Action Pack', an animated series scheduled to premiere on 4th January 2022 on Netflix. With hearts, smarts and superpowers, the heroic kids of the Action Academy work together to battle the baddies — and even bring out the good in them!In addition to that series, Mike most recently recorded with the Vienna Scoring Orchestra for the first in a series of animated feature films from BRON Creative/YBG Films', titled 'Bear Grylls Young Adventurer', based around the famed survivalist. Set in a Hogwarts-like school in Castleton, UK, the young Grylls deals with the challenges of childhood, learn early life lessons, and embark on globetrotting escapades with a group of friends known as the Secret Ops Squad.In 2016, Mike was nominated for an Annie Award for “Outstanding Achievement in Music in an Animated TV/Broadcast Production” for his score of Disney Juniors' animated series 'Sheriff Callie's Wild West'. Mike's music can also be heard on Disney Juniors 'Mickey Mouse and the Roadster Racers', as well as the sequel 'Mickey Mouse Mixed Up Adventures'. His other work includes Scholastic Entertainment's 'Clifford the Big Red Dog', Nickelodeon's 'Adventures in Wonder Park' and 'Butterbean's Café'; The Jim Henson Company/PBS Kids' series 'Splash and Bubbles', and more.Prior to setting out on his own, Mike worked at Hans Zimmer's Remote Control for Emmy-nominated composer James Levine on shows such as 'Glee', 'The Blacklist', 'American Horror Story', 'Rizzoli & Isles', 'Major Crimes', 'The Closer' and 'Damages'.Support this show http://supporter.acast.com/geektown. See acast.com/privacy for privacy and opt-out information.

durée : 00:21:50 - Disques de légende du mardi 30 novembre 2021 - Aujourd'hui dans Disques de légende, nous écoutons le Concerto pour piano n°3 de Rachmaninov par Arcadi Volodos avec l'Orchestre Philharmonique de Berlin dirigé par James Levine, dans un disque Sony de 2000.

Synopsis The REAL story behind Richard Strauss' decision to use a chamber orchestra for his opera “Ariadne on Naxos” – which premiered in Stuttgart on today's date in 1912 – is complicated and a little mundane. We prefer a more “colorful” version that some in Stuttgart have proffered. When a new opera house was being planned for that city, Strauss was asked how large the orchestral pit should be. “Oh, it should hold about 100 players,” he suggested. So, to determine the size required, the architects rather naively asked the local military band to assemble 100 players, have them stand at attention, and measured the amount of space they occupied. Now, soldiers standing at attention take up a LOT less space than an equal number of seated symphonic musicians. And so, the resulting space in the new theater could only accommodate a CHAMBER orchestra. The Stuttgart Opera also wanted to launch their new theater with a brand-new opera commissioned from Strauss. When he learned what had happened, being the eminently practical sort he was, simply wrote his new opera for chamber ensemble of about 40 players. Fact or fantasy, that's how some like to tell it in Stuttgart. Music Played in Today's Program Richard Strauss (1861 – 1949) — Ariadne auf Naxos (Vienna Philharmonic; James Levine, cond.) DG 419 225 On This Day Births 1825 - Austrian composer and conductor Johann Strauss, Jr. (aka "The Younger," or II), in Vienna; 1838 - French composer Georges Bizet, in Paris; 1864 - Russian composer Alexander Grechaninov, in Moscow (see Julian date: Oct. 13); 1923 - Australian composer Don Banks, in South Melbourne; Premieres 1823 - Weber: opera "Euryanthe," in Vienna at the Kärtnertor Theater; 1848 - Verdi: opera "Il Corsaro" (The Corsair), in Trieste at the Teatro Grande; 1875 - Tchaikovsky: Piano Concerto No. 1, Op. 23, at the Music Hall in Boston, by the orchestra of the Harvard Musical Association conducted by B.J. Lang, with Hans von Bülow as soloist; 1885 - Brahms: Symphony No. 4 in Meiningen, Germany, with the composer conducting; 1912 - R. Strauss: opera, "Ariadne auf Naxos," and incidental music to "Le Bourgeois Gentilhomme," in Stuttgart at the Hoftheater (Kleines Haus), with the composer conducting, and vocal soloists Maria Jeritza (Ariadne), Margarethe Siems (Zerbinetta), and Hermann Jadlowker (Bacchus); A revised version of this work (with a newly composed prologue) premiered at the Vienna Court Opera on Oct. 4, 1916; 1923 - Milhaud: ballet, "La Création du Monde," in Paris, by the Ballets Suédois at the Théâtre des Champs-Elysées; 1949 - Frank Martin: Concerto for Seven Wind Instruments, Timpani, Percussion, and Strings, by the orchestra of the Bern Musickgesellschaft, Luc Balmer conducting; 1958 - Janácek: opera "Fate" (1st staged performance) in Brno at the National Theater; This opera was written in 1904 and was premiered in a concert performance by the Brno Radio on September 18, 1934; 1973 - Martinu: Violin Concerto (composed in 1932), by the Chicago Symphony, Sir Georg Solti conducting, with Josef Suk as soloist; 1979 - Earl Kim: Violin Concerto, by the New York Philharmonic, conducted by Zubin Mehta, with Itzhak Perlman as soloist; 1986 - Christopher Rouse: "Phantasmata" (first complete performance of three orchestral pieces composed 1981-85: "The Evestrum of Juan de la Cruz in the Sagrada Familia, 3 A.M."; "The Infernal Machine"; and "Bump"), by the St. Louis Symphony, Leonard Slatkin conducting; Links and Resources On Richard Strauss

Monica, Samantha & Greg guess the plot of movies/TV shows: Fantasia 2000 & Blue Streak. Follow us on: www.instagram.com/implotsters/ www.twitter.com/implotsters www.facebook.com/implotsters www.youtube.com/channel/UCNt0P8dGWkM1OdnhKO3pXKg TikTok @Implotsters Visit our website: www.implotsters.com

In a February 2021 article from Harvard Health Publishing, research links some surprising health problems to slouching, including incontinence and constipation.  On this episode of the MEMIC Safety Experts Podcast, Al Brown, MEMIC's Director of Ergonomics takes a look at slouching, how it affects your health and some strategies for prevention.   Peter Koch: [00:00:04] Welcome to the MEMIC Safety Experts podcast. My name is Peter Koch, your host, and today we are here with Al Brown, the director of ergonomics for MEMIC. And we're going to talk about slouching. So we don't want you to be a slouch. And I want you to think about this right now. And I bet you if you heard this, you might have even sat up or stood up a little bit more straight. But think about your posture right at this moment or just moments ago whether your drive in your car, sitting at your desk, maybe you're sitting on the riding lawnmower or you're sitting on your couch at home or whatever you're doing. What's your posture like? Are you seated? Is your low back curved or your shoulders hunched forward? Is your head in a forward posture that's slouching? We're going to talk about that and the effects of slouching, how we got there, because that's certainly not how we were, how we were designed to sit and to stand. But that's a common posture and it has a lot of different negative effects on [00:01:00] our body and sometimes even our longevity. So I guess with that, Al, welcome to the podcast today. Thanks for being back again and sharing some fascinating it I think a little frightening information about what slouching might do for you. So talk to me about slouching. What's going on with slouching and why is this a big deal? Because I don't know. I like the slouch every once in a while. Right. Feels good. So what's the problem with it? Al Brown: [00:01:26] Well, first, Pete, thanks. Thanks for having me back. Much appreciated. It's an interesting thing. It's a phenomenon I'm watching unfold as I travel about different industries and particularly the office world and even watching my own kids. And the advent of the laptop, I think sort of was the thing that started that precluded all this. And, you know, the laptop is a lovely thing. It's portable. It allows us a lot of information in this little thing that we just kind of carry in our hand. But when we interface [00:02:00] with it. We sit down and we place it somewhere, they call it a laptop for a reason, a lot of times that's where it ends up. And but unfortunately, particularly, the younger crowd has pretty good vision. So they flip open that screen the keyboards down where their hands are and overcomes the head to view the content. This is sort of the initial start of creating muscle memory and this forward slouching posture, it's unconscious subconscious, not really recognized, and a lot of things begin to happen physiologically and it's very subtle over time. And then you begin to see the results of it after someone's been doing it for a couple of months, a couple of years. And I see it oftentimes when we have someone new young coming in to MEMIC and they have been a laptop user and are now [00:03:00] shifting to a desktop. And that's where the behaviors become very apparent to me when I see them positioning themselves in front of the screen. We talk about proper ergonomics and how to set up, and it's very hard for them sometimes to adapt to it because of all the things that we that have occurred because of the excessive laptop using and the slouching, which will get into more detail today. Peter Koch: [00:03:25] Sure, I see it well, I see it myself sometimes. I've lots of times I'm going to work off an iPad with a keyboard attached to it and the same thing that it'll sit right on my lap and my head will be bent over and I'll type and you'll get a little tightness in the back of your neck. And I don't have the greatest eyesight anymore. I'm certainly not one of the younger users anymore, unfortunately. But looking through my progressive lenses or my bifocals, I'll have to look down or look up to see part of that screen. And you really have a limited range of motion. I see it with my daughter, too. So a couple [00:04:00] of daughters in high school, of course, just about every kid in Maine gets a laptop or they have a laptop and they're doing all their work on it. They're sitting at the kitchen table. They're sitting on the couch. They're sitting on the porch. My youngest daughter was sitting in a hammock the other day, leaning back kind of in this banana shape with a laptop on her lap and like, wow, that's really uncomfortable looking. But yeah, so that's the habit that they're in. So I can only imagine what happens when you try to move to a different place, whether it be a desktop or you watch I'll actually watch my oldest daughter, who's home now who drive and she'll be in the same head forward position when she's driving seat back a little bit of that. You referenced this before we were talking the low rider position. So sit back a little bit, head forward, kind of looking just above the steering wheel in that same [00:05:00] posture translates between her laptop use at home and the car driving. And if she concentrates, she'll stand up straight. But if you just watch her kind of relax, sometimes that forward head posture will just become a normal a normal thing for her. Al Brown: [00:05:16] It's almost like if you look at it from a profile view, someone sitting at the desk. You'll see almost a C, you know, shape, you know, where the head is forward and then you follow the curve around at the mid thoracic area and even the lower back, which has normally, you know, a curve in the opposite direction of the mid back, is actually now continuing that same shape down to the pelvis. So you get this giant C shape and that has an impact all the way through the body. What happens is basically you're shutting your abdominal muscles off and you're kind of hanging on your back muscles. I always reference [00:06:00] a shirt, and when you're sitting there leaning forward, the shirt on the front side's all wrinkled up, which kind of represents muscles that are sort of tightening up. And then you look at the fabric on the back of the shirt and it's being overstretched, which happens to the muscles on the back of the body. They're being sort of statically stretched passively for an extended period of time. If you stay in the position long enough, it actually creates inflammation in a lot of the soft tissue. And then you start to see diagnoses like fibromyalgia and myofascial pain. And we can all experience it. You know, for the listeners at home, you can take one of your fingers gently and pull it back words so that it's fully extended and just keep a stretch on it for, oh, you know, maybe 15 to 30 seconds, a good stretch on it and then release it and curl it up. And you can feel that stiffness [00:07:00] that you've started. And think of that finger stained in that position for an hour, two hours. Eventually the tissue becomes in flames and you create an injury. So over time, someone who slouches at a computer is doing that same thing to all the muscle tissue on the back side of the body and weakening the abdominals on the front side. So that's just that's just the musculoskeletal system, you know, and sitting, you know, we have to throw in you look down at the hips and the hip flexors are shortening up. And so when you go to a standing position, you never get somebody that goes fully erect simply because the longer we do it, the more our body adapts and our more the muscles will shorten, tendons will shorten, ligaments will shorten. And so unless you take an active role in sort of reopening your body back up, you will, like you had mentioned your daughter, you'll see that transferred to from the hammock to the desk to [00:08:00] the car, and it becomes normalized in the brain. And we'll start to hear complaints about it because and people will only make a change when they get the discomfort. And we see young folks going for shoulder surgeries now, having back pain. I think the tag line now thirty's the new 40. Peter Koch: [00:08:22] Oh boy. Al Brown: [00:08:22] And those comorbidities are coming sooner simply because of this sort of slouched posture. Peter Koch: [00:08:29] Wow. So and I always think about it, too, that there are you have complementary muscle groups. So, you know, when you're in the habit in that C shape to stretch out those back muscles and kind of relax those abdominal muscles, then you go to come back and combat that. If you haven't been working those abdominal muscles to help keep yourself in good posture, it will become more difficult over time to combat the bad posture that you have to move out of that habit. So the [00:09:00] longer you spend in it, the worse it is for you. Al Brown: [00:09:03] Yeah, I mean, what it does to tightens up those hip flexors and then you keep the back the inward curve of the back actually goes concave or convex. It goes in the opposite direction. And what happens, it's very difficult to roll out of that posture again. You know, if you think of yourself sitting, there's two ways to sit to a certain extent. I mean, all kinds of ways to sit. But one is sort of sitting back on your sacrum, which is what the slouches will sit on. So if you just kind of let your back roll that your low back flatten and you roll back on your tailbone and your head has to come forward as that happens. So you are creating that C. But if you actually arch your back and you pull your pelvis around, you actually come up on there's these two sitting bones as they're skilled, tuberose, and there's two of them, you'll pull yourself around up on top of those and you'll feel your core go [00:10:00] upright and your head will align. The chair should positively support you than the back of the chair should be in there and supporting your back for the low riders of the folks have been doing the slouching. If we pull their chair up into that position, they feel like they're almost being thrown into the computer. And that's because that visual mental image they have of themselves and sort of their muscle memory keeps them in that forward C posture. Peter Koch: [00:10:28] Yeah, that kinesthetic sense. They think their father forward and they should be because their natural well, their habitual place to be is in that forward head posture. Yeah. I just think that's where they are. Al Brown: [00:10:39] You'll see it in like older people go to the dentist now, you know, and the dentist tends to lay a pretty flat and you know, because as we age we tend to go into that forward posture. It's we're trying to look for stability. And what happens is when they lay you down on the chair, someone that's, you know, creeping [00:11:00] over into the forward posture, they'll go, oh, that's far enough that you've got me almost upside down. And there's still about 45 degrees, you know, before they even get the flat. So they'll slowly creep that person down as their muscles and their memory kind of relaxes a bit and they can sneak them down. But you can't get them really flat because of all the physical changes that's occurring earlier in young adults. Peter Koch: [00:11:24] When you think about that example of a dentist chair, it must change sleep patterns as well because you know, might not be able to lay flat or stretch out or get into that position. So you might not be able to be in a truly comfortable, restful position where your body can recover, which is really what sleep is for. Al Brown: [00:11:44] Yeah, you'll notice that the number of pillow starts stacking up behind you if you lay on your back and you'll know that when you roll over on your belly and your hands fall asleep a lot quicker, that again, welcome to the C posture. That's where your head. And so those are all indicators, [00:12:00] you know. So it's one of those things that we the more static activity you spend in front of a computer in time, you really need to spend a lot of time sort of resetting the body and opening it back up. You need to set yourself up neutral. But you had mentioned earlier on we were talking that you like to slouch and everybody does. It's a position of fatigue. After a while, you just can't hold yourself upright and you'll slouch. So every 30 minutes you probably should get up and move or change or change your posture. The advent of the dynamic workstation helps because I always tell folks when you start to lean or slouch, just pop the buttons and lift the desk because you'll bring your pelvis underneath you and you'll change that pattern because you won't stand in a slouch. You can, but it'll be more difficult to do that. So and that's kind of the cue. But every 30 minutes, you should be changing your position and posture. Peter Koch: [00:12:57] I think people listening might agree [00:13:00] with that, but they might find it difficult. And I know for me, if I have a project that I'm doing that requires concentration and you get into that zone and you're focused on what you're doing, 30 minutes goes by like that. Al Brown: [00:13:12] It does. Peter Koch: [00:13:13] And if I take that moment to stand up, it may pull me out of the zone, which isn't really true. I mean, I you will move out of it a little bit, but like you said, move from the sitting position, come up to the standing position, do your work for a little while and sit back down. It doesn't have to be a disruptive process. It doesn't sound like just have to change that posture so you can stretch things out, get back to a better posture and then keep going with your project. Al Brown: [00:13:42] I mean, you can even just roll your pelvis when you're sitting there. If your back is flat and you've got that C, you just roll your pelvis up into a more arched back and that in itself sort of just recuse the brain a bit. And again, we're just talking about what's happening [00:14:00] in the musculoskeletal system. I mean, there's other implications that are out there that, you know, and I think the it was the Harvard the Harvard Health Publishing in February 15th, 2021. They just came out and there was a Megan Markovsky who's at Women and Brigham's that associated with Harvard. You know, they start they're starting to look at other kind of physiological changes, you know, things like incontinence, constipation, and you can really see how mechanically you begin to impact your body. You know, I've said for years, you know, if you sit in that seat position, you know, think about your intestines. It's a giant hose that goes back and forth inside your gut. And that's convoluted enough with a lot of bends. But now when you sit in the C position, you just push it down. So you've not only [00:15:00] you've got this convoluted tube, but now you're going to compress it. And so think about food, trying to move through, you know, peristalsis or whatever that is trying to move down through and there's a little push back, you know, acid reflux, you know, like, oh, gee, I just or gastric upset or I don't feel so good. And again, you're mushing your intestines when you sit in that that poor position. Breathing is another example. You know, your diaphragm are these two conical shape muscles at the base of your of your lungs. That their job is when they're nice and perky is to pull those lungs down. And that creates a negative pressure in the air goes in. And then when they relax, your lungs are elastic, that passively it'll push the air back out. When you're sitting in that C posture slouched. Those diaphragm muscles are not perky. They're almost flattened out. So they have no ability to pull down. So to get a deep breath or even [00:16:00] to breathe normally, you have to almost start raising your shoulders, which is a lot of work. I mean, if you just you know, if you just take your shoulders and try to raise them up, you know, 60 times, you know, a minute or just, you know, even less than that when we breathe. But I mean, just that's very fatiguing because you're lifting up a large mass each time to breathe. So you're working harder to breathe and digest. Just from slouching. Peter Koch: [00:16:25] That's amazing. And so I get to see the breathing, definitely the breathing thing. And you might find yourself to be a little short of breath sometimes, too, if you're sitting in that position. Some of the results of slouching that you talked about, the incontinence, the heartburn, acid reflux, are those immediate or would you find those to be something that that occurs hours or maybe even 24 hours later after you've had a bout of slouching? I'm trying to think of like that what that Q would be. And are people connecting their posture of what they [00:17:00] did all day yesterday? To now they wake up on Saturday morning after having spent all day or all week in the office and that slouched position. And now they're struggling to enjoy life on Saturday because of what's happening. So when one of those physical cues occur. Al Brown: [00:17:19] You know, it probably if I were to theorize, I would I would think that it's maybe not something that you notice right away because you're, and particularly if you're younger, you're very tolerant and you probably are a little more active and moving around. But as you continue to have a job that requires that you sit and you begin to change that body physiologically and like you had mentioned, you know, from the hammock to the computer to the car, you repeat that same behavior to sitting at night, chill and watching a movie. You are you are [00:18:00] exposing yourself to that same issue. So it becomes more apparent and probably sort of insidiously sneaks in on you. And that's when you at some point discomfort, you know, you kind of go, what's going on? And I don't think people connect the dots to that sitting piece and off to the doc getting tested and finding out what's going on. Now you're starting to medicate, but when you really look back at the root cause you've got to reopen your body back up. You got to look at your behaviors, because until you change those, you're still mechanically beating yourself up. Peter Koch: [00:18:37] Right. And I think a lot of people feel that the amount of exercise that they have, maybe at the end of the day they get an hour's walk in or something like that after they've been sitting in that slouch position for let's just call it an hour, six hours at work. Maybe they get up and walk around a little bit at lunch or whatever. So they sit slouched for six hours and then they got two more hours on the couch [00:19:00] and they got maybe an hour commute back and forth. So now you're at eight, nine, ten hours of slouched position. But I got one hour of exercise. You talk about how that's not quite enough and maybe you can elaborate a little bit about that right now, too. Al Brown: [00:19:16] Yeah. James Levine works at Mayo Clinic and he actually wrote the book Stand Up. I think your chair is killing you, something like that. Or, you know, sitting is the new smoking kind of came from that sort of tagline. But when you look at I mean, that's kind of our mentality. I'm guilty of it, that I'll sit and do my work all day long in front of a computer. And then I think, oh, I got to get out and take my run or I have to lift or I have to exercise. But you won't. The degradation, degradation you've done to your body during those seven to eight to ten hours to eleven hours of sitting, you cannot recover from that one hour of [00:20:00] exercise, I think in Australia that. Actually coined the term they had done some research down there on this, and it's called the Active Couch Potato. So you still are going to suffer the you know, if you're sitting for 11 hours a day, there are I think there's 35 medical conditions, you know, type two diabetes, cardiovascular disease, cancers, that the risk factors will go up exponentially just from that sitting. And you can't recover by just having that one hour of exercise. It's something that you need to incorporate throughout the whole day of movement and each time you move. That's when I always encourage folks to sort of reset their body upright, you know, recue the game of Jenga, you know, get the blocks realigned, because if you don't, you continue down that road of impacting your health negatively. Peter Koch: [00:20:57] Sure, sure. It's an important point [00:21:00] that I don't think we can stress enough, regardless of if it's the positions that you're in at work or if it's positions that you would like to be in when you're at home. It's we're not made to be stationary. We're made to be active. Everything about us is made to be active from just the amount of assistance the large muscle gives to our heart, to move blood around from our lower extremities to upper extremities, to try to fight off gravity. We're made to move around. We're not made to just sit in one place Al Brown: [00:21:33] Yup everything sucks down to the earth. So and when you sit down, unfortunately, you shut off the largest muscles in the body. And so now you've lost all that assistance that any time they contract, they actually will milk and push the fluid back up. I mean, it assists your cardiovascular system, obviously, the venous return and the arterial flow, but the lymphatic system really kind of depends [00:22:00] on it. So and it's the filtering system that gets the junk out of your body. So, again, when you sit slouched, you sit and you sit. You know, you've not only are you mechanically compressing all the structures, but then you shut off the big muscles in the body that are assisting. So the accumulated effect of all that going on, you know, you'll start to have those physiological changes and you'll start, you know, like I said, shoulders from the mechanics of your shoulder change completely. And, you know, I can see folks I've seen folks that are queuing up for shoulder surgery and I'm going before you go there. Wait a minute. You need to open up your body first. They go what? And it's amazing how much a person has lost how to pull themselves back into neutral. And it's very cumbersome. It's exhausting for the first week to 10 days. But once they get it and they break on through to the other side, they actually feel a [00:23:00] whole bunch better. It's kind of. You know, it's like walking around with a stick and holding it in your hand and tipping the stick forward, maybe 15 to 20 degrees, that creates sort of a bit of a force on the wrist and hand and shoulder and arm. You're like, oh, you know, after you do that for a while, it's kind of my wrist is getting shaky where if you just balance that stick on your hand and walk around, you know, a little more of a challenge, but it's less awkward forced on the wrist. So you're just kind of bouncing around. So same thing with your body. When you get it all set up and you balance it out, you're much more efficient and it takes a lot less energy to move it around Peter Koch: [00:23:38] A lot less. Take us through that exercise again of going from that C position and straightening up in your chair just by tipping your pelvis. I think that's that could be a simple thing that people can do. And if the folks listening to us right now, again, like I started this podcast, think about where you are, think about that C position is [00:24:00] your head forward or your shoulders hunched as your back round. And then Al is going to take us through that sequence of how just sit up straighter just by tipping your pelvis in a different direction. So when you do that. Al Brown: [00:24:11] Yeah. I mean, think about yourself right now and where you're sitting. And if you can imagine that you had on a pair of. Pants or jeans, let's call them jeans, and they have back pockets and are you sitting on your back pockets right now? Are you rolled back? And so those back pockets are actually sort of facing down and on the seat. And if you are, then that's the start of C sitting. You actually are doing more sacral sitting. You know, you're sitting back on that sacrum. So what we want to do is rotate your pelvis and bring you out of that position. So and what you're going to notice is that as you as you bring your pelvis around, you're going to notice that you're getting taller. And you're also probably going to notice that your head will start to tuck back [00:25:00] in because your head follows your butt here, Pete, I'm telling you. So if your pelvis rolls forward and your pelvis is going forward, your head's going to go forward as your pelvis rolls backwards and comes behind your head is going to want to like the game of Jenga. We have to push the block up on top with the block on the bottom to keep it all balanced. So what I want folks to do now is get off your hip pockets and I want you to almost like you're pushing your belly forward and you're arching your back and you're trying to take your head up, you know, up towards the ceiling. So you rotate that pelvis forward and you'll feel a shift up on to that that part of your pelvis. So that's neutral sitting. That's hard to do right now, probably for most folks of in here going, OK, I'm working really hard to do that. That's why you want a good supportive chair that in that position now you want that inward curve of your back filled by your chair so that lumbar support becomes very important. You can't just and some [00:26:00] people do. Perch there are perchers that will sit on the edge of the chair and perch. That's OK. But that's a fatiguing thing to do. And eventually what you're going to do is you're going to, out of fatigue, roll back onto your hip pockets. OK, so, you know, again, it's just what you're doing is you're going have your hip pockets, you're going towards the ceiling with your head and you're rotating your pelvis forward so you'll feel an inward curve in your low back. And that's a more neutral position for your body. Peter Koch: [00:26:27] And I think that's a good reset for folks when you're you stayed at your chair for a while. And if you can think about that sequence when you've been at your chair and you do tip your pelvis and you sit up straighter and you get a curve in your low back and your head tucks back, that's a cue to continue to get taller and stand up and adjust your desk, get up a little bit, maybe move the laptop from your lap to maybe the counter or maybe someplace else. So you're not sitting in that position slouched all the time. Al Brown: [00:26:59] What [00:27:00] you know, one thing we didn't mention is the disk pressure. So you know that you have your vertebrae and then the disks are in between. So the vertebrae, the bony structure, the disc is soft tissue, very rugged structure, but again, exposed to long passive forces. It's impacted and sitting. If you think about it, you bring your thighs sort of towards your abdomen, you know, to about a 90 degree position that actually because of the attachment of like your hamstrings are attached to your pelvis and as you bring up that thigh, will tend to pull the pelvis around and want to force you into that C position. That's why it's good to have normal length in your hamstrings and all that kind of good stuff. But if you pull your thigh up into that position and your back does round off and just sitting in and of itself puts about 40 to 50 percent more force on that disc. So just the act of [00:28:00] sitting, you've loaded your back. So it's important to get up. And when you get up, another great thing to do is when you stand, you just hands on waist, feet, shoulder width apart, and you just do a little bit of and keep your chin tucked. You don't want to do the what is it, the limbo where your head goes way back. You keep your head your head tucked and you do a little bit of back extension and there should just be a little bit of pressure in the low back and maybe a little bit of stretching on the front side. But that resets that disc could actually reposition some of the pressure, the gel inside it. It's a slow, gentle movement. It's not something that you force. But any time you're sitting in a car and sitting at your desk, you know, every 30 minutes, that's one of those things you get up and just sort of reset your body in that regard. Peter Koch: [00:28:52] People will do that. As they feel really fatigued, you'll get really tired, you'll start feeling all those bodily [00:29:00] cues, you'll get achy, you'll get stiff in your mind, I'll get a little foggy. But you really want to make those changes before those cues happen. That's the whole idea Al Brown: [00:29:09] Right it's too late when you're hurting. Peter Koch: [00:29:12] Exactly. Al Brown: [00:29:12] Water over the dam. Peter Koch: [00:29:13] Yeah. And we ignore those cues, too. So like, oh, just a few more minutes or I'm almost done or I'm going to get this here, but we got to get into that habit and be more intentional, I think. And that's the key word to be intentional about how we go about our day in our body position as we sit at our desk or stand at our desk because our well doesn't even need to be at a desk. You could it could be anywhere you can be in an excavator working for a construction company or a bulldozer or you can be a truck driver. You're going to find yourself in those C positions often. Or I was driving actually back from this area yesterday and there's summer. So there's a lot of road construction and there are quite a few folks out there as flaggers. And you can look at posture's as they get as the day [00:30:00] gets on, they'll be in that standing C position where they might have started to be in the beginning of the day. When they're fresh, they're upright, their shoulders are back, their heads where it needs to be. And as the day goes on, they get kind of in that old man position where they're leaning on the stop sign instead of standing up with the stop sign. Al Brown: [00:30:19] That used to be a more brutal job, you know, because back they figured out that remember the day when they used to just have a little handle? I do stop sign and they would just flip it around. Peter Koch: [00:30:29] And they were holding it instead of on a poll right? Al Brown: [00:30:30] They were holding it. So and some genius came along, probably some famous ergonomist and said, you know, if you had a longer pole, that would be less force on the body. And so you'll see that that long pole is present in all construction. Peter Koch: [00:30:48] It's ubiquitous now. Al Brown: [00:30:48] It's ubiquitous. But the problem is, is you're right. You know, here's a person standing there all day long not moving, you know, because you can walk longer [00:31:00] than you can stand still. That makes sense? Peter Koch: [00:31:04] Does it make sense to me? Al Brown: [00:31:06] So, like, if you stand there and don't move, Pete, and then I'm going to go walk and we're going to see how many hours I can walk and how many hours you can stand still and see who can last longer. I'm going to last longer simply because I'm sharing the load throughout my whole body. And it's just brief moments. You're statically loading and you can't move. Peter Koch: [00:31:26] Let's take a quick break so I can tell you about our E-Ergo resource that can be used to help solve ergonomic challenges at your workplace. Sometimes contacting, contracting with and scheduling an ergonomist or occupational health nurse for an onsite evaluation doesn't fit with our Just-In-Time workflow in a competitive economy, fixing the problem right now is essential, and improving worker comfort and efficiency are key components to ongoing success. Free to our policyholders MEMICs E-Ergo, Tool can help you overcome ergonomic challenges. [00:32:00] With just five quick photos or a short 30 second video and a brief description of what's being shown, you can send us the critical demands and essential functions within the work tasks once received. Our ergonomics team can identify risks and exposures and provide reasonable suggestions for ergonomic improvement within just a few short days. Start the E-Ergo process by logging into the MEMIC safety director at www.MEMIC.com/Workplace Safety. Now let's get back to today's episode. Peter Koch: [00:32:35] And you talked about it before the podcast as we were discussing this, the body carburetor. When I'm moving that carburetors move in your lungs, your heart, there's a demand in there. You've got enough cardiovascular activity to support that demand. But when I'm just standing there and I was on the way home late yesterday evening watching the [00:33:00] gentleman stand with the stop sign, and it was for whatever reason, it was a long stop. We must have been there for ten minutes. And I don't think he shifted maybe once or twice during that entire ten minutes. And I'm look at him going, That that can't be comfortable because if it was me, I'd have been shifting back and forth, moving side to side, because I can't I can't stand in that one position. My back will hurt. My knees will hurt. My feet will hurt. Because my carburetor is not going the way it's supposed to, it's not getting enough air, right? There's not enough not enough air to make combustion happen. Kind of. Al Brown: [00:33:35] You know, it's funny as a related topic, which I always like to reference this, you know, the sort of the beginning research of cardiovascular function and how it impacts us from a static to a dynamic activity is Jeremy Morris, who's an epidemiologist out of London, and he died in the 90s at 99 and a half years old. But he did the study on the double decker buses [00:34:00] in London and looked at the drivers and compared them to the I'm going to call them ticket takers. And the drivers sat. The whole day and the ticket takers would put in an average, I think it was, if I think back in the piece of research, I read about 600 steps a day that was. Peter Koch: [00:34:21] Just going up and down. Al Brown: [00:34:22] Up and down the double decker bus to punch tickets. And in the cardiovascular incident rate for the drivers was 50 percent higher. Then the ticket takers, and that was true cardiac events, that's not you know, they just have, you know, higher risk. And it was you know, it is a longevity. You know, they did it over a long period of time and they just set up incident rate driver to take, you know, and took into account some other. Variables, but for the most part, the drivers were out of, you know, 50 percent higher incidence rate of cardiovascular issues. Peter Koch: [00:34:58] Wow. And that's supported [00:35:00] in current day. I know a professor that I've worked with in the past, Dr. Delia Roberts, who's done a lot of work within the recreation industry with her fit for ski program. But she's got a fit for Drive program for the long haul truckers out in British Columbia and did a study from a blood sugar standpoint and the effect of diet and lack of exercise sitting in the truck all the time. And just a couple of changes with a little bit of dietary change to manage blood sugar better and then more frequent breaks to be able to increase cardiovascular activity, change alertness, changed accident rates. There's not the studies not long enough to see the morbidity or cardiovascular incidents. But as the study goes on, as she keeps working with them, I bet she'll find some of the same results as the guy from London. Al Brown: [00:35:54] Sure. Yeah, no, it's I think it was Dr. Levine. He had mentioned that, you know, post dinner, post [00:36:00] lunch, post dinner or go take a go take a 15 minute walk and blood sugar drops by about 20 percent, you know, so it sort of stirs the mix. And it's a healthier mix for you at that point as opposed to, you know, when you get up and now you're hypoglycemic because you just ate and you're like, that lazy boy over there was pretty good. I think I'm just going to go take a nap and, you know, and so it's a you know, one of those things that that it's not rocket science. It's not a magic pill, but it is common sense. It makes a huge difference in our body physiologically. It's kind of like the posture thing. I mean, it's your parents, you know, coming in and going straight up, straighten up, you know, when you're thinking, come on, leave me alone. But it's more present nowadays because of the advent of the laptop. And you throw a phone, a cell phone, and most folks will just bend their neck over and take a look at that cell phone. [00:37:00] So they're just contributing to it when they look even at their cell phone. So it's or you see, you know, a person sitting on the park bench or somewhere in a chair and they're just in that giant seat posture with their forearms down on their lap, you know, looking at whatever's going on the screen. And you're like, oh, you know, it's a physics problem because. You know, we always talk about the head weighing somewhere between, you know, there's 10 pounders and there's 15 pounders, but let's call it 13. But for every 10 degrees, you know, we live in a world of gravity, as you'd mentioned earlier. So for every 10 degrees that head comes forward, we add another 10 pounds of force to the neck and shoulders, to that flat and back to that disc, compressing the front side abdominal intestinal area, lowering the diaphragm so now it can expand. It's just it's messy all the way around. Peter Koch: [00:37:54] All the way around. Al Brown: [00:37:54] All the way around. Nothing good. Peter Koch: [00:37:57] Nothing good can come of this. And [00:38:00] then there's the habit. Right. So you do it for long enough. And how many of us are conditioned to look at that phone? Right. So the phone vibrates or you hear a sound that sounds like your ringtone and you automatically look down at your phone or at least look down at your pocket or wherever it's stored. And it's not even your phone. It's somebody else's phone. But we're conditioned to do that. So we have this habit of looking down, looking at something that's in our lap or below shoulder height. And once you get into a habit. It becomes really hard to break that habit Al Brown: [00:38:36] Once the genie is out of the bottle. It's hard to get them back in. Yeah, same thing with the posture. I mean, once you're down that and again, because we have a younger population that's kind of they you know, they didn't know life without a cell phone and a laptop. You know, I can go back to when none of that existed, you know, and as I do presentations now, I realize [00:39:00] that, you know, sometimes folks are looking at me like, wow, you know, it's just that it's always been part of my life. So but then I see this change in body posture that's beginning to occur because that thing that's in front of them and when you're young, you just don't think about those things. You're going to live forever and never have an ache or a pain. But, you know, you can talk to anybody who's. In the in the twilight, as would be the twilight, the twilight of life, and they'll say, you get achy and you do. So you don't want to contribute to it. If there are things that are that you can do that are easy, it's just a matter of initiating those and make sure you incorporate those into your daily life. Peter Koch: [00:39:45] And the younger you are, like you had said, the easier it is to not notice or feel like you've recovered from. But again, if you continue those postures over and over and over again, you're not recovering enough. You're recovering a little bit enough [00:40:00] to not find that discomfort anymore. But as soon as you go back to that posture again, you're doing the same damage that you did before or the postures having the same effect as it did before. So all of a sudden, you know, you're 13, 14, 15, 16, not a care in the world high school. It's great looking on the college. It's awesome at the college. It's great you get out into the workforce and now you're 28 or 30 years old and you've spent 15 years or longer in that posture. Now, going back to that little demonstration you asked people to consider by taking your index finger and pulling it back. So now do that for a day instead of doing it for 15 seconds. And that's, you know Al Brown: [00:40:44] Do it for a day, do it for a week, do it for a month. Do it for 15 years. And the accumulation of trauma. Leads to. Peter Koch: [00:40:56] Sure. And it's not just in one place, it's not just work, we talk about this for [00:41:00] hearing conservation. When we talk about hearing conservation programs in the workplace and regardless of how much time you spend in your workday, it's almost always more time in loud noises outside of your workday. For most people, Al Brown: [00:41:18] They're not as loud, though. At home, the chainsaw is not as loud at home as it is at work. Peter Koch: [00:41:22] right the homeowner chainsaw is always less, Al Brown: [00:41:25] Right you don't need the safety stuff. Oh, no, it's a different animal altogether. Peter Koch: [00:41:29] But as you start adding it up, so now you ask people, OK, so how long do you spend in this, this decibel level? Sorry, it's a hundred decibels and we're going to do this job for an hour or two hours or 15 minutes and we're going to take a break and we're going to go back the noise. And overall, they might be four hours in that that noise environment at work out of an eight hour day. Certainly there's other work that you're going to do. It's going to be louder for longer, but on average, it's not going to be that loud for that long. And then you start adding up the time that people [00:42:00] spend with headphones in with the music up to 100 decibels, or they're going to mow the lawn at home and it takes them a couple hours. I'm not wearing hearing protection or they're using the chainsaw or they're on their snowmobile or they're on their four wheeler or they're out shooting or they're out at a bar or at a concert. And all of a sudden you add up all this time and you've got a lot more time and loud noise outside of work than you do in work. But you have to add it all together. So you have four hours at work, you got six or seven hours outside of work, and now most of your day and it creeps up on you. And like you said, with posture, your body will get a little more achy regardless of how good you take care of it. So when you don't take good care of it, you just end up getting achy sooner. And you get to that point one day. And like you said before, what was it. Al Brown: [00:42:52]  30 is the new 40. Peter Koch: [00:42:53] That's scary. Al Brown: [00:42:55] Yeah, I mentioned that the other day in the presentation. And some of the folks like I don't understand what you mean. [00:43:00] And I said, you know what? But someone in their 60s felt at 40. Because of the technology that now exists in a lot of our lives, those folks using more of the technology and slouching are going to feel those discomforts 30. So there's been a 10 year slip backwards. You know, I mentioned things like technology, like simple things like when we used to back a car, if you would rotate your body, which is good, you like to rotate your body because it helps to sort of lengthen a lot of these old, like tissues in your body. But now today you just look down at the camera and line up the lines. Still can't do it. Peter Koch: [00:43:38] That's a whole other topic. Al Brown: [00:43:39] So you just you don't you know, or if to answer the phone, you would have to run to get the phone or, you know, walk or go to the room where it was attached to the wall or on the counter. And now you just lift it out of your pocket and decide if you're going to answer it or not or Peter Koch: [00:43:55] Or if it's not for you. You throw the phone to whoever it was. Al Brown: [00:43:58] Yeah. And [00:44:00] that's where you get a lot of your entertainment now, too, you know, from screen time to actually music. So you don't have to go put an album on. You don't have to get a cassette. You don't you don't have to go turn the TV on and adjust the ears on the you know, it's so I mean, those are all kind of funny, very vintage things, but it's true. So we have eliminated movement. Peter Koch: [00:44:21] Yeah. That almost the devolution said go back even farther. And you talk about the work where we used to do and get back to the agrarian society that we used to be. And you spent the majority your day in the field. They are your milk and cows or you're preparing the field or you're standing at the stove or you're doing you're splitting wood. Whatever those things were, it was you were spending the majority your time in activity and you got home at the end of the day and there was only just enough time to eat, relax for a little bit and then get enough sleep so that you can get up in the morning. And now we have all these conveniences which have [00:45:00] almost devolved our ability to be that active. Al Brown: [00:45:05] That's right. Peter Koch: [00:45:06] I have a I have a very good friend of mine who's whose dad has been a dairy farmer all his life, and the dad is now getting into his 70s. But, you know, he will still put in more physical activity in his day just by he still goes out and milks the cows. He's not anywhere near as fast anymore. And he's a little more grumpy. It's sometimes when things don't go his way. But he still puts in a pretty physical day that would kick most people's butts. They would be exhausted. He gets back at the end of the day and he's like, yep, just the same thing I've been doing for the last 60 years or so. . So it's interesting how that lack of activity has crept into our lives and it's made it easy for us to relax. But that relaxation has it [00:46:00] doesn't always have its benefits. It has it detracts from our ability to have really a pain free longer life. Al Brown: [00:46:08] Hmm. There was there was an utter pun in there, but I just couldn't fit it in. Utterly amazing that he does so well at this age. Peter Koch: [00:46:20] Yeah, yeah, yeah. I got it right in the bucket. Al Brown: [00:46:22] There you go. You know, you know, the one thing if you think about, you know, a couple of things we didn't I'm going to throw these in the bucket too. TMJ. Oh yeah. Jaw pain. Because as soon as you project the head forward, you change the function of the jaw, headaches, vision issues. When we look at a computer screen, we blink a whole bunch less so we get dry eyes. So there is a whole bunch of products out there from ballooning my glasses etc. And it's just mechanically you just don't you're not remoistening your eyes often, [00:47:00] as you would if you were just looking out into the world as opposed to a screen. So we blink a whole bunch less. So it's, you know, again, just more things that are not good when we slouch and we tip forward. So you got to pull back. Peter Koch: [00:47:14] Got to pull back and it becomes habit. And when we get into a habit, our body adjusts to the habit that we're in. So it starts to shut down those things that it doesn't need, but it does need those things. But we're driving that negative behavior through habit. So just over time, just the shortening of the oh, I don't need to be that long as your muscles just shorten up and all of a sudden my hip flexor is getting out of the car becomes painful because my hip flexors have been shortened so much for sitting all the time because you're sitting in front of your computer screen and then long commute, you're not walking as much. So those habits and I think that's a key part to remember too, to break that habit, [00:48:00] you need to be intentional, but you need to try to break those habits so that you. Can be more pain free and not suffer some of the changes that will occur in your body over time through those habits that you've built up for the last 15, 20, sometimes even 30 years. You think nowadays going back through the oh, I was in the in the grocery store the other day and I kept hearing like a video playing. I'm looking around. I can't see anybody like I was expecting someone to be watching a video as a shopping. But what it was there was a kid, probably six years old, in the cart groceries all around him. And he was just watching the video. He was on his phone. And so he's six years old. And we're creating that habit of head because he was head forward looking at the phone [00:49:00] in his lap. Al Brown: [00:49:00] Yeah, he's been indoctrinated. Peter Koch: [00:49:03] There we go. Al Brown: [00:49:03] There we go. Yeah. Peter Koch: [00:49:04] So, you know, intentionality about the technology that we have and that intentionality of what we do with it and around it and how it affects us. It's important for us to know those effects. And we'll put the reference of the study that you referenced earlier in the podcast. Show notes. But can you maybe talk a little bit more about the Harvard study that talked about those the effects of what's going on when you have that C posture? Al Brown: [00:49:29] Yes, it's fairly recent Peter Koch: [00:49:30] You said 2021. Right. Al Brown: [00:49:33] It's a newsletter they put out. And I think it was Megan Markovsky, who's a physical therapist. And I think it was a Kyle Staller. He's a gastroenterologist at Mass General. But it was an interesting read because I've theorized for a number of years that, you know, mechanically you're compressing all those structures. So they're now beginning to go. And [00:50:00] I'm sure they they've thought the same. I mean, that's what starts the theory. And then they're probably much better about doing the research than me. I just tend to get stuck, you know, bite onto that bone and I'm not going to change. But I feel that's the case. But, I can give you the link to that? Peter Koch: [00:50:16] Yeah, please. Al Brown: [00:50:16] And beginning to recognize that that slouch posture is so common, but it's going to create so many common problems that they're probably seeing those same complaints over and over again. And at some point you start to put two and two together and you go, all right, you know, and we can't in the medical world, sometimes we are so busy treating the symptoms, we forget to think about the root cause. And when you when you walk it back and you start looking at it and again in the world we live in, in safety and risk and exposure, I mean, that's what we're always doing, is trying to find the root cause because you can sit there and throw things, tools, money. But until you've discovered where the problem is and again, this [00:51:00] is you know, it's pretty basic to me that it is just, you know, just repeated unconscious behavior of sitting in front of something that you're looking down at throughout the day. And we do a lot more things on that computer than we've ever done in the past. You know, I mean, how many jobs now are just what is about 80 to 85 percent? I think we're closer to 87 percent of jobs now are sedentary and they're sedentary, most likely because of technology. Sure. I mean, look at our logging industry nowadays. Peter Koch: [00:51:29] Oh, yeah. Yeah. Al Brown: [00:51:30] You know, there's no more log runs down the river with people with spikes on their boots, running around with pick poles. And, you know, it's you know, there's a forwarder. They go in. I don't mean that they don't even have to get out of the seat. Now, the whole forward spins back around. They drive back out the way they came. Peter Koch: [00:51:47] And it's like the Starship Enterprise in there with the amount of controls that they have because they can do everything from that seat. Everything most of the things that your hand crew was going to do, you know, 30, 40 years ago, [00:52:00] it's all done by machine now. Al Brown: [00:52:03] Yeah. So and that's an office that bounces around, you know. So think about now we got that forward head posture with our C posture and you're going to go over stumps and bumps and that creates a forward momentum of your head and core, which translates into a huge extra load on the back. So, yeah, that's an office on steroids. Peter Koch: [00:52:25] It's watching a guy a couple of days ago at a at a resort. They're doing a big construction job and they're hauling Phil from the pit up the up the mountain road, which is pretty bouncy, full of water bars. Al Brown: [00:52:37] Don't you think Phil should walk? Peter Koch: [00:52:38] Well, you know, Phil could walk, but Greg's on his way, so you never know. Put that in the bucket, too. So and, you know, I got a good view of the driver, so and all day long, he probably made twenty trips while we were there doing the training all day. And as he drove past us just in the, you know, maybe [00:53:00] six, seven hundred feet that we could see the truck, a lot of bounce happen and you can see the guy bounce. Up and down in the head, moving back and forth, he looked like he was at a heavy metal concert for crying out loud. How much motion was happening? Even with the air right seat, there was still enough movement. And so he's doing that all day. And just the compression just from being in the posture. And like you said, now you add the bouncing adding to gravity and velocity in that, too. So things aren't going to go well. Over time. Al Brown: [00:53:29] Yeah, I'm sure he had his fill of that job. Peter Koch: [00:53:36] And on that note. All right. So we've talked about some solutions for this, right? We have we want to be intentional about how we're setting up our workstation. We want to be intentional about when we take breaks and not just wait for our body to cue us with a pain or fatigue response. You gave us that little exercise [00:54:00] of being able to tilt your pelvis the opposite way to sit up straighter, tuck your head back and get up every 30 minutes or so. What else can we do to combat that forward head posture? And let's talk specifically about maybe the office environments or when you you're actually working at a computer, you maybe you have a laptop and that's the only thing that you have assigned to you for a machine to work on. Al Brown: [00:54:27] Yeah. I mean, simple things. If you only have a laptop, go out and buy a secondary keyboard and a mouse and just move that laptop up so that if you have good vision and that's, you know, you might have a single lens, single vision lens, not a progressive like you or me, but if you have a single lens glass or you have good vision, most likely you want to put that that laptop screen [00:55:00] up. So where the content that you're viewing is at eye level and then the keyboard should be down so that your upper arm is parallel to your core and your forearms parallel to the floor, that  keeps us the quietest and be in a good chair because again, we don't want it with the laptop or the screen too low. You're going to, you know, slump over into the seat position. So that's one of the basic things to do. And with this work from home that we just saw recently, we really kind of pushed at least get a secondary keyboard and mouse and get away from using the laptop for both. If you have a you know, you move that up a level and you go get a docking station and get a screen at home, that's at the right height and the keyboard and all that kind of good stuff. Those things all influence where your head goes. So it's important that you look at where those screens are now as a sort of side note, if you're a progressive lens where that screen won't go as high because you can actually go in the opposite [00:56:00] direction with your head going backwards. So we really want that game of Jenga balanced. So you might have to lower the screen a bit lower than contented eye height might have to be fifteen or so degrees below that level because of the way you use your lenses. Paperwork is another thing that a lot of folks will just lay it. A classic was to push the keyboard away so that the arms were extended and then the paperwork was laid between the keyboard and your belly to a certain extent. So you had an extreme forward head posture to look down at that paperwork, reverse that, put the paperwork on the other side and put the paperwork on a slight incline, 15, 20 degrees. You don't want to cover the screens, but a little bit of a document holder. And it can even be something basic, like a little binder that's propped up and it'll raise that document up enough that you can glance down with your eyes because your eyes can look down 15 to 20 degrees without you tipping your head and you can read the document [00:57:00] and then look back up at the screen. So, you know, look at the things that you interact with on a daily basis and try to get them at eye level, your iPhone or your iPhone Android. Sorry didn't mean to sell advertisement for anything, you know, think about bringing it up to your eyes as opposed to bringing your head down to it. And I know that can be tiring because that that phone weighs a ton, particularly if you're sitting there reading it for a while. Sometimes I tell folks just to cross their arm over almost like they're sticking their arm, like they're half folding their arms. So you might have the left arm under the right arm sort of up in the armpit area and it can support your hand. So the phone is in a better position for your hands. Had to stay upright. Peter Koch: [00:57:52] Sure. It moves it out a little bit farther away from your body. Yeah. Al Brown: [00:57:54] Yeah. And you can do it sort of passively and kind of read what's going on. So that's kind of the workstation. Think [00:58:00] about those things and all the stuff you interact with. Same thing in the car, like adjust your mirrors. So that when you're sitting upright in the car, you can see, you know, you might frame out the back window and if halfway through a drive you look in the mirror and all of a sudden you're looking at the ceiling, you're going, oh, and tells you that you've just gone into a forward head see posture. So. Correcting those mirrors so that they give you cues of where you are, you can do fun, little things to like once you have your screens at the right place. I often thought this would be a cool thing to do, is you put a little and you could you could do anything you want. I'm thinking this would be sort of the Elton John kind of tool to help you keep good portion. I reference Elton John simply because I'm thinking eyeglasses, but if you put a little mirror at the top of your screens, you know, just there that when you're in the right position, you can see your eyes. OK, so as the day goes on, all you have to do is and that's why I called the Elton John's, I put a set of glasses [00:59:00] over so you could see yourself in the eyeglasses reflecting back things like you're wearing eyeglasses as the day goes on, if you fade out of out of sight. And you don't see yourself, you pop back up until you see yourself, and it also cues you to get up and move because you're obviously fatigued and slouching. And then just from a walking around standpoint, because here's a showstopper. You never look at yourself. OK, so, you know, how do you have to rely on these internal memory, muscle memory kinesiology to understand where you are in space. So, you know, you're not looking at yourself. So when you were in great posture walking around, you typically don't see you. Let me say that again. When you're walking around in great posture and your head's upright and you might occasionally see your hands swing by, but other than that, you really won't see much of you at all, which tells you you're in good shape. If [01:00:00] you're hanging over in the seat posture and you're seeing a lot of you, you're creating a lot of problems for yourself. Peter Koch: [01:00:06] Chances are that's not so good right. Al Brown: [01:00:09] You'll see it coming. Yeah, it's one of those things are good position. You won't see much of you. Peter Koch: [01:00:16] Yeah, that's an interesting key. And I really hadn't thought of it that way. But it is if I'm looking down, you know, you can see your feet, you can see your knees, some of us might see, you know, shirts or skirts or whatever. But if you're sitting up or standing up straight, you're not really seeing anything now. You might see hands, you might see a toe, but you're looking around. You're looking at the world around you instead of yourself and the sidewalk all the time. Al Brown: [01:00:40] Good, solid game of Jenga. You know, you're upright. Peter Koch: [01:00:45] So what are some work if people want to find more information about the effects of slouching and maybe some different ways to counteract it or how to set your workstation up or to do things to counteract slouching, where might they [01:01:00] go to find stuff? Al Brown: [01:01:02] You can go to our safety director and we have a lot of resources there on the effects of sitting and ways to set up proper ways to set up a workstation. We have work from home references simply because most of us have been doing that for the past year and a couple of months. And we also have stretches, a couple of good stretch posters, movement. I call them resetting posters because it's I mean, some of them are stretches, but a lot of it is just resetting your body. Kind of like I talked about standing up and doing some back bends. That's really sort of a resetting of the body in the back. So there's great material there. You know, James Levine's book on Stand Up, you know, I don't get any royalties from that recommendation, but I found it a great a great quick read. It's one of those kind of Peter Koch: [01:01:55] It is a really good book. Yeah. Yeah. Al Brown: [01:01:57] It just kind of hits the physiology of it and you kind of [01:02:00] go, huh? And it really touches on some other things to some. We didn't talk about obesity and all that kind of stuff from sitting and lowering your metabolism, but he really does a great job and he did a solid piece of research on that fidgetors and non-fidgetors and moving so a great book to reference and certainly online. There's always good, good references there. We'll put that the Harvard newsletter on the back side so that you can take a peek at that. Peter Koch: [01:02:27] Be great. There's a ton of resources out there. Just when you're searching for stuff, always try to go to a reputable resource. There's always new and different information that's out there. Sometimes it's not always the best. So not that you have to start with MEMIC resources, but certainly, like you said, we've got a ton of resources out there. The Harvard Medical Review is also a great place to go. And then some of the books that are out there are good as well. But as long as you're talking about how to counteract those things with just natural stuff, like it's not going to be a quick, easy it's an easy [01:03:00] fix when you think about it set up straight. Right. Get up and move. Those are too quick and easy things to do, but they tend to be difficult because of the habits. So it's not a pill, it's not a surgery. It's not. I can go see somebody else and they can fix me. You kind of have to fix yourself. So that could be the biggest challenge. So when the solution that someone proffers for you to fix your fix, what ails you is that magic pill or the surgery or something revolutionary that someone else can do for you, it's probably not going to correct it. Might help for a little while, but might not correct that all the way. So those things that you can do for yourself are going to be immediately helpful. Just be intentional about them. Al Brown: [01:03:43] Yeah, I mean, those are just addressing the symptoms. If you think about it and you know, what we're talking about is addressing the root cause. So it's harder, much cheaper, but it works. And, you know, you know, gravity's going to get you in the end anyway. So, you know, [01:04:00] don't help it along. Peter Koch: [01:04:02] Don't give up. Al Brown: [01:04:03] Don't. Yeah. Don't start doing the things that are going to happen to you anyway with aging and the breakdown of the body by mimicking those postures. Hmm, I was a little commercial break there, mimicking those postures early on. And again, it's just be mindful. Sure. Of where you are in space. Yeah. Yeah. Peter Koch: [01:04:29] Excellent. Well, thank you very much for coming back on the podcast and sharing all this great information with us and the listeners out there. So appreciate it again very much. Al Brown: [01:04:39] Thank you very much. Appreciate being here. Always fun. Peter Koch: [01:04:42] Always fun. Thanks to all of our listeners out there for joining us today on the MEMIC Safety Experts podcast. We've been speaking about how slouching can affect your health with Al Brown PT and director of ergonomics at MEMIC. If you have any questions or would like to hear more about a particular topic on our podcast, email [01:05:00] me at podcast@MEMIC.com. Also, check out our show notes at MEMIC.com/podcast, where you can find additional resources, links to other podcasts with our as well as our entire podcast archive. And while you're there, sign up for our Safety Net blog so you never miss any of our articles and safety news updates. If you haven't done so already, I'd really appreciate it if you took a minute or two to review us on Stitcher, iTunes or whichever podcast service that you found us on. And if you've a

Un Día Como Hoy 23 de Junio. Nace: 1668: Giambattista Vico, filósofo italiano (f. 1744). 1889: Anna Ajmátova, poeta rusa. 1943: James Levine, director de orquesta estadounidense. 1970: Yann Tiersen, músico y compositor francés. Fallece: 1836: James Mill, filósofo e historiador escocés (n. 1773). 1953: Albert Gleizes, pintor francés (n. 1881). Una producción de Sala Prisma Podcast. 2021

1940 Hitler visita per tre ore Parigi, accompagnato dall'architetto Albert Speer e lo scultore Arno Breker - 1943 Nasce il direttore d'orchestra e pianista statunitense James Levine.

Episode 8: Tim Welcomes internationally acclaimed tenor, Russell Thomas.   Tim drinks a Chimay and Russell a fancy lemonade. Tim and Russell reminisce about their first meeting at The Aspen Music Festival, and how that summer was pivotal for Russell on his artistic path. Russell tells how he fell in love with Opera by flipping through radio stations. They discuss Russell's approach to technique, the importance of being able to ask questions during the learning process, and just how far he's willing to go to work with the right teacher. They chat about what Russell thinks about while singing an aria and his complex internal balancing act. Russell also shares about his ‘big break' and the long process of putting himself out there. Russell speaks about his time at the Metropolitan Opera and the disparity in how he was treated there. He speaks to the impact that James Levine, John Fisher, and Ken Noda had on his artistic development. Russell talks about growing up in a primarily Cuban neighborhood in Miami, coming to understand his racial identity until he entered the classical music community and moved away/lived on his own, and repeatedly being pulled over by the police for driving in his own neighborhood. Russell shares a response to an early audition, and how this comment fueled Russell's drive to succeed. They discuss whether things are changing for BIPOC people and the general futility of hosting panels as a supposed action, the importance of white people joining the conversation about race today, and how white outrage is not enough. Russell talks about his new position at Los Angeles Opera as Artist in Residence. He reveals how he got the job and his vision for his work there. They talk about Russell's hopes for someday running an opera company, how racial disparity in the operatic world affects the makeup of general directors at companies across the country, and how this appointment at impacts his trajectory. More information on the program Russell is developing as part his tenure there, the HBCU Opera Career Comprehensive, can be found on the Los Angeles Opera Website here: https://www.laopera.org/about-us/hbcu-opera-career-comprehensive/ Tim shares more about the history and etymology of the Mvskoke and Seminole peoples in this episode during the land acknowledgement at the opening of the show. At the beginning of every episode, Tim and Russell perform a land acknowledgement, and Russell comments on how his ancestors were not brought to this land willingly as part of his acknowledgement. If you want to know more about land acknowledgments, and the original tenants and cultures of your current location, Tim suggests using the Native Land App https://apps.apple.com/us/app/native-land/id1194356597 or at https://play.google.com/store/apps/details?id=ca.nativeland.NativeLand&hl=en&gl=US We heard a clip of Russell singing Roberto Devereux with San Francisco Opera info on that production can be found here: https://sfopera.com/devereux Russell talked about Vanished, a project with Ryan McKinney and Dallas Opera. Here is the info on that: Vanished – The Dallas Opera (NOW) Ryan McKinney has taken the last year to transform himself into a fully-fledged filmmaker and his latest work, “Vanished” might be his most impressive yet. The work, starring Russell Thomas and John Holiday, explores music by Gluck, Monteverdi, and Janáček assembled into a new narrative. https://www.thedallasopera.tv/products/vanished The story Tim mentioned for CBS Sunday morning is a story on interracial marriage for the anniversary of the Supreme Court Case Loving vs. Virginia, which did away with racial barriers in marriage. The link to that story is here: https://www.cbsnews.com/sunday-morning/ You can find Tim's Website here: timothylongmusic.com Special Thanks to Martha Redbone for her permission to use her song “Medicine Man” for the opening credits. More of her work can be found here and you can subscribe to her Youtube channel here. More information on Foundry Arts, the producer of Unequal Temperament, is available at www.thefoundryarts.com Foundry Arts is a lab for opera using collaboration and partnership to invest in artist development, dialogue, and expression, to sustain a rich, diverse, equitable, inclusive, and sustainable cultural landscape.

durée : 01:58:16 - Relax ! du lundi 03 mai 2021 - par : Lionel Esparza - La pianiste Martha Argerich fait la couverture du dernier Diapason ! Egalement au sommaire, une histoire du mensuel né en 1956 et qui fête son 700ème numéro, un portrait de James Levine, et un article sur la situation des musiciens et des institutions américaines face à la crise du Covid-19. - réalisé par : Antoine Courtin

In this episode, we have a conversation with Todd Wedge about his journey in music, the Grammys, the Metropolitan Opera and reactions to the death of James Levine.

A cura di Paolo PellegriniPersonaggi e InterpretiGuido di Montforte - Sherrill Milnes Il Sire di Bethume - Terence Sharpe Il Conte Vaudemont – Richard Van Allan Arrigo - Plácido Domingo Giovanni da Procida - Ruggero Raimondi La Duchessa Elena - Martina Arroyo Ninetta - Maria Ewing Danieli - Leo Goeke Tebaldo - Kenneth Collins Roberto - James Morris Manfredo - Alan ByersOrchestra - New Philharmonia Orchestra Chorus - John Alldis Choir Direttore - James Levine

This week, we start out with a rousing round of Stolen Strains and then we move on to our three topics:JAMES LEVINE'S $3.5M SETTLEMENT AND ZUBIN MEHTA'S COMMENTSThe Terms of Levine's Met Settlement Revealed (NYT) Cancellation of the Met's season (NYT)The original interview with Mehta in the Corriere della Sera Will's translation of the Corriere della Sera article THE RISE OF INSTAGRAM PRACTICE ACCOUNTSJacob Sweet's post on the New Yorker Culture Desk blogMorgan Davison's bassoon practice instaIS A SOCIALLY DISTANCED MUSIC DEGREE WORTH THE PRICE TAG?“An Impossible Choice: Music Majors, COVID-19, and an Uncertain Future”by Zack Finkelstein and Dana Lynne VargasCLASSICAL MIXTAPEThe full playlistZACHDowland, “Come Again, Sweet Love”Get the albumWILLVivaldi, Juditha triumphans, “Armatae face et anguibus”TIFFANYMason Bates, Ford's FarmKENSHOCharles Wuorinen, JosquinianaTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” GET A COPY OF ALEX ROSS'S WAGNERISM FOR OUR BOOK CLUBBook page at MacmillanYou can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Today you'll get to meet Joseph Anderer, recently retired Principal Horn of our Met Orchestra. Joe began his Met career in 1984 and has served many roles, including as acting Principal Horn, Second horn, Third horn, and ultimately was appointed Principal Horn by James Levine in 2003, a position he held until this season in 2020. In his spare time, Joe was Principal Horn of Orchestra St. Luke's (for 46 years!) where he is a founding member. He has had an AMAZINGLY illustrious career, and I had a blast listening to all of his stories and advice! In this episode, Joe tells us about his childhood, his upbringing in Philly, schooling at Juilliard, and living in NYC. He spoils us with the greatest stories from his careers both as a freelancer in NYC for 14 years, AND as an orchestral musician at the MET for 36 years & at OSL for 46 years. Did you know how serious he is about his coffee? And that his cousin is the chef/owner at Anton's on Hudson Street? I am honored to speak with Joe today, and can't wait for you to meet him. Join us! --- Support this podcast: https://anchor.fm/julia-choi/support

Rob Jacobs is the guy who gets people up-and-out of their chairs and moving again! A personal fitness expert and the co-founder of UnSit, an innovative company working to get people UP out of their chairs and moving again with the world’s first Treadmill Desk optimized for use in an office environment. His background is firmly in the fitness industry having been in treadmill retail and commercial equipment including a repairs and servicing business model. Being a fitness enthusiast sitting at a chair all day made Rob research into how to help people with desk jobs get fitter by moving more. First business startup – the walking centre. This was a fitness centre targeted at middle aged stay at home mums who would go into the store, rent a movie, and walk on a treadmill while watching their movie! This proved to be a great model for Rob. The results were very good and people started buying these high ticket treadmills in the Beverly Hills area, and opened more stores which also included the sale of commercial fitness equipment. Rob eventually sold out of the retail model after a number of years as the market changed with increased competition and margin pressure. Before selling out of retail Rob had developed a service model that repaired and serviced fitness equipment for health clubs and fitness centres, so with a new business partner Rob developed and grew this business to include retailing of spare parts. Rob has maintained and continued to grow this business over the last 25 years plus and it still continues to be his core revenue generator. The business model is ecommerce based enhanced with telephone technology support, targeted at out of warranty fitness equipment servicing clients in different countries. The problem that turned into a new business idea Rob found himself constantly sitting at a desk, servicing clients and growing his spare parts business, and found himself having less and less exercise, feeling lethargic, lower back problems all from sitting behind a desk far too long. A book by Dr. James Levine, who is credited as the popular inspiration for the treadmill desk, inspired Rob to work on solving his problem. Book reference: https://www.amazon.com/Get-Up-Chair-Killing-About/dp/1137278994 (Get up – why your chair is killing you, Dr James Levine) Rob had seen the idea before but he discredited it on the basis that he didn’t think a treadmill desk provided real exercise or real practicality in an office setting. [During this interview Rob was walking along at 1 mile per hour on his treadmill desk and by about 15 minutes into the interview he had clocked over 2,000 steps! Pretty impressive]. Dissecting the research and looking at the market opportunity Obesity is one third of US population, and this same third is also at the pre-diabetic stage estimated to require medicated treatment in a few years time Sitting disease is a term used in the book by Dr Levine which includes diabetes, heart disease and other chronic illnesses which can be prevented or recovered from through exercise Mental creativity is a softer science but this is the marketing point Rob has picked, exercise leads to a more productive and creative workforce and this can be achieved through the treadmill desk technology Designing the product After reading https://www.amazon.com/Get-Up-Chair-Killing-About/dp/1137278994 (Dr James Levine’s book) Rob decided to work on designing a product that was fit for purpose Most designs at this time simply took a tread mill and stuck it under a desk, but Rob figured there was better way Rob shares that while his academic qualifications are minimal and his learning quite empirical and self taught, this did not disadvantage his entrepreneurial journey Rob took out an old treadmill, a piece of plywood and created a frame around the treadmill, tweaked it and after a couple of months came up with half decent treadmill desk Then after using it a for a