Podcasts about john phillip sousa

https://enlighteninglife.com/create-energetic-space/You have heard me use the phrase ‘create energetic space' so many times over the years and I have explained it in various ways that include healing and release work. And that is true but once we get beyond the easy stuff then we move into the harder aspects of healing because like everything else, there is a core to what is making us feel stuck, disempowered, afraid, and confused. As you will learn it is something that eludes us because we are looking in other directions.The key to healing is not more emotional release work, which is often the easy part. There is an energetic component to release work that is the final component, the answer to all of our sadness, and it is the most challenging release work we will ever do.If you have had questions about why, in spite of years of release work, you just can't get clear of everything that holds you back, this article will answer those questions, give you some action items to implement, and perhaps even start an energy inventory of what exactly is in your energetic space right now and what you may want to create space for.To begin, we have to acknowledge that everything is energy and everything has energy. Every thought and belief has its own energy. Try this experiment. Think of something wonderful that happened in your past. I'll start – the time I was in an orchestra and played the piccolo solo in John Phillip Sousa's ‘stars and Stripes Forever' on a barge in the middle of a river. And I played it without making a single error. I had practiced for weeks and it had to be absolutely perfect or someone would notice. It was an honor to play it, an acknowledgement of my talent and skill as a musician, years of practice, and I wanted it to be perfect. And it was. I only played it one time that day but I got it exactly right.How do you feel about what you just remembered? I feel fantastic, I am smiling, and I remember hitting that last note of that solo, so grateful that it was over and that I had played my solo perfectly. It was one of the more thrilling moments of my life.Read the rest of this article on the blog at enlighteninglife.com Created, narrated, and produced by Jennifer Hoffman.Artwork by Jennifer Hoffman.Copyright (C) 2004-2024 by Jennifer Hoffman, all US and international rights reserved.Visit enlighteninglife.com for more information.Please note our policies regarding copyright infringement, content misuse, and theft of intellectual property. We prosecute all infringers and have a ZERO TOLERANCE POLICY for abuse and illegal use of our content.email support@enlighteninglife.com with questions

I've seen The Music Man at least once a year, since age ten, usually around the 4th of July, which is when the story takes place and is the holiday it embodies so well --- the All-American, fireworking, head-back-looking-up-at-the-sky, patriotic singing holiday of holidays. And all due to the enthusiasm, good-old American stick-to-it-iveness and talent of Meredith Wilson. The entertainment industry doesn't produce people like Wilson anymore. Born at the turn of the century in Mason City, Ioway (the real River City), he was a musician, composer, playwright, radio star, bandleader, and author. He grew up in Iowa, a son of the Midwest, and became an accomplished flutist and piccolo player, so much so that he attended the Julliard School. He later played in John Phillip Sousa's band (talk about “76 Trombones!”) and for the New York Philharmonic under the master Toscanini. In 1950, Wilson met playwright and screenwriter Franklin Lacey, and they began an eight-year journey to capture Wilson's memories of his boyhood in Mason City. Thirty revisions and forty songs later, they produced the Broadway show, The Music Man, premiering in 1957. email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

This is the story of a song's evolution from ragtime composition to folk song, then from blues to bluegrass.We begin in 1900. Danish-born American violinist/composer Jens Bodewalt Lampe, inspired by Scott Joplin's hot new “Maple Leaf Rag,” composed his own syncopated piece, which he called “Creole Belles,” published in Detroit by Whitney-Warner.A child prodigy (he became the first chair violinist for the Minneapolis Symphony when he was just 16), Lampe was exploring this exciting new type of music. What later came to be called “ragtime” was at the time variously described as “cakewalk,” “march” or “two-step” music.Lampe's “Creole Belles” was a hit, performed widely by pianists, ragtime bands, brass bands and military bands. In 1902, when John Phillip Sousa championed this piece by recording it, Lampe became one of the country's best-known ragtime composers, second only to his hero, Joplin.The Evolution Begins with The FiddlersLampe's work had one of the most amazing cultural cross-pollinations in music history.The catchy melody of the second section or strain of “Creole Belles” first was picked up by fiddlers, who also adopted alternative names for their newly borrowed tune, including “Back Up and Push,” “Rubber Dolly” and “Rubber Dolly Rag.”Then came the string bands. The tune was so popular with them, in fact, that most Appalachian bands that were recording in the 1920s and ‘30s released some version of it. Under the title “Back Up and Push,” the song was recorded twice in mid-1929, just days apart. It was waxed in Richmond, Indiana, by a little-known group called The Augusta Trio, then in Atlanta by a fiddle band with the unlikely name of “The Georgia Organ Grinders.”Five years later, the better-known Gid Tanner and The Skillet Lickers did the song in San Antonio for Bluebird.Meanwhile, the earliest version in which the tune was called “Rubber Dolly Rag” was recorded by Uncle Bud Landress for Victor, also in Atlanta, in November 1929. The song broke out of the hillbilly genre with a 1931 Columbia Records release by Perry Bechtel and His Boys. (Bechtel, a virtuoso guitarist and tenor banjoist, called it “Little Rubber Dolly.”)Footnote: In 1926 banjoist Charlie Poole and his North Carolina Ramblers used the same melody for “Goodbye Booze,” itself based on a 1901 novelty vaudeville number by Jean Constant Havez.The Blues and FolkMeanwhile, the melody was ready for yet another evolutionary turn.Beloved blues guitarist and singer Mississippi John Hurt, who in the early 1920s often collaborated with fiddler Willie Narmour, brought Lampe's original title back to the forefront by adding lyrics, calling it “My Creole Belle” and giving it a smoother new rhythm. Hurt sang:My Creole Belle, I love her wellMy darling baby, my Creole BelleWhen the stars shine, I'll call her mineMy darling baby, my Creole Belle.Known for playing square dance and ragtime music during the same period that he was recording early blues for Okey Records, Hurt's interest in different musical styles meant the melody was heard by a much wider audience. (Incidentally, Hurt also used essentially the same tune for his “Richland Woman.”) Subsequently, Woody Guthrie and other folkies were to record it as “My Creole Belle.”Swing (Western and Otherwise)Soon Western swing bands and Texas-style fiddlers popularized four or five versions of the tune with characteristic dance rhythms.And in 1939, Ella Fitzgerald and The King Sisters each released "Wubba Dolly" with novelty vocals. Bluegrass and BeyondWhen bluegrass and early rock developed, each genre gave the song still more new treatments. For Bluebird, for instance, Bill Monroe recorded an instrumental version in 1940.Fiddler Tommy Jackson brought out his take in 1951, followed by The Stanley Brothers and then by …. well, by everybody.Finally, there were rock renditions. Curiously, for example, 10 years after Bill Black died, the Bill Black Combo still was touring, and the group charted as late as 1975 with “Back Up and Push” on its World's Greatest Honky Tonk Band album.Our Take on the TuneDanny Cox learned his version of the song from a recording by his hero Chet Atkins on the 1965 More of That Guitar Country album. This Flood track was recorded at a recent gig at Sal's Speakeasy in Ashland, Ky.Here you'll hear Dan and harmonicat Sam St. Clair trading choruses on the tune as we call folks back to the bandstand to begin our second set. By the way, The Flood will be back at Sal's next week. We're playing Saturday, April 22, from 6 to 9, and, as a special treat, our dear friend, Floodster Emerita Michelle Hoge, will be back as the evening's guest artist. Come on out and party with us! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

(Mar 31, 2023) What comes to mind when you think about the tuba? Maybe a German guy in lederhosen, playing an oompah tune at Oktoberfest. Or a concert band playing a patriotic John Phillip Sousa song on July 4th. Well... Charles Guy would like you to reconsider your image of the tuba.

Clear your spit valves, tighten your drum heads, and adjust your plumes... this week, Christie Buchele returns to the show and we're talking about Marching Band. Topics include John Phillip Sousa, the Sudler Shield, Scramble Bands and more. Plus we're playing I See What You Did There and FMK! *trumpet blurt*Follow Christie: https://twitter.com/cabuchsy and watch out for A Father Named Todd, her album, to drop!Check out Rise Comedy: https://risecomedy.com/Check out Maynard Ferguson: https://maynardferguson.com/And some CSU Trombone Suicides: https://www.youtube.com/watch?v=0f6zAycXcP0Plus, don't miss out on the Drum and Bugle Corps too! MUSIC!!!!! 

John Phillip Sousa and his Marine Corps Band performed in Enid, OKlahoma for a Christmas concert in 1919 and 1925. He also gave concerts in 1921 and 1928 which are all explained. DId he really spend $6,000 ($93,000 today's cost) on white kid gloves? What did he leave for the community? The story of "The March King" in the Cherokee Strip.

Born on this day in 1814, in what is known today as Belgium, inventor and musician Adolphe Sax, inventor of the saxophone. Also born on this day in 1854, John Phillip Sousa, the March King. And because this is Adolphe Sax's birthday, today is celebrated as National Saxophone Day.

Hank E. Panky tells stories to Viktor Devonne, featuring the music that shaped their life, from their time in the military to awkward school dances to stagetime from childhood to now. You may listen to this playlist featuring Dolly Parton, Imani Coppola, The B-52's, The Queers, and John Phillip Sousa, and more at:  https://open.spotify.com/playlist/6yuUEPmV114FXueSdws3WM?si=c4c8485bfa344401 This is an abbreviated audio edition with a full length version available at Patreon.com/WEBurlesque at the Summer special of $1 pledge, with access to all of the newly renamed "...That Made WE" content, including the audio commentary series "The Movies That Made Us (Queer)." - The Music That Made WE is a creation of WEBurlesque Podcast Network, produced by Viktor Devonne.  Hank on WEBurlesque Hank on IG: @hankepanky85 [Copyright Disclaimer Under Section 107 of the Copyright Act in 1976; Allowance is made for "Fair Use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. All rights and credit go directly to its rightful owners. No copyright infringement intended.] - Produced by Viktor Devonne, reigning Mr Hollywood Burlesque, and celebrating 15 years in burlesque.  White Elephant Burlesque recently closed a five year residency in Manhattan, and continues to produce White Elephant Burlesque virtually. Visit weburlesque.com for details. SUPPORT THE POD: http://www.patreon.com/weburlesque Instagram/Twitter: @viktordevonne | @weburlesque Facebook: https://www.facebook.com/weburlesque http://linktr.ee/weburlesque

Marching bands have come a long way since the days of John Phillip Sousa, the March King. We look at the history of marching bands, their culture and how they've kept pace with changing musical styles.

This episode explores a few expeditions to South America, including the Panama Canal. We dive into some significant changes to the Marine Corps, including appointing John Phillip Sousa as the leader of the Marine Band and the formal adoption of the Marine Corps motto.

Panda ballot examiners in Arizona; other boys will not play with little Joe Biden; South Carolina pro-choice on executions & John Phillip Sousa loves him a war on this Whad'ya Know Podcast--

Episode 7: Violinist Edmond Agopian & Sousa’s Secret Career  I speak with a musician of passionate curiosity, violinist Edmond Agopian. I also tell the story of John Philip Sousa’s secret career, and the mysterious tale of the artwork still on the Moon.    CBC website story on the Thorgy Thor | orchestra collaboration: https://www.cbc.ca/cbcdocspov/features/drag-star-thorgy-thor-brings-her-star-power-to-the-world-of-orchestral-musi   CBC gem link to the complete film “Disruptor Conductor” https://gem.cbc.ca/media/cbc-docs-pov/season-3/episode-5/38e815a-0119a7bfbd7?cmp=sch-disruptor (note outside of Canada, the entire film might still be available here https://watchmoviesonlinenow.xyz/movie/752824/   Daniel Bartholomew-Poyser page at the Toronto Symphony: https://www.tso.ca/conductor/daniel-bartholomew-poyser   Slate Article on the tangled controversy that surrounded “Fallen Astronaut” past and present: http://www.slate.com/articles/health_and_science/science/2013/12/sculpture_on_the_moon_paul_van_hoeydonck_s_fallen_astronaut.html   Another Artwork on the Moon: https://www.openculture.com/2019/07/tiny-art-museum-on-the-moon.html   German gallery selling authorized replicas: https://www.galerie-breckner.de/edition-paul-van-hoeydonck-man-in-space/   VOD film documentary on “Fallen Astronaut” https://vimeo.com/ondemand/thefallenastronaut?ref=tw-share   The United States Marine Band’s appreciation of its former director Sousa: https://www.marineband.marines.mil/About/Our-History/John-Philip-Sousa/   Sousa and “The Transit of Venus” https://copycateffect.blogspot.com/2009/02/sousas-transit-of-venus.html   More info about Sousa as a writer: https://web.archive.org/web/20041021201305/http://wgpark.com/page.asp?pid=10   Edmond Agopian page at SCPA-University of Calgary https://arts.ucalgary.ca/creative-performing-arts https://scpa.ucalgary.ca/manageprofile/profiles/edmond-agopian   Edmond Agopian speaking of Beethoven’s 250th birthday and his continued influence: https://ckua.com/listen/honouring-two-hundred-and-fifty-years-of-beethoven/   UCalgary String Quartet Album “Far Behind I left My country” featuring Agopian’s arrangements: Apple: https://music.apple.com/ca/album/far-behind-i-left-my-country-klezmer-east-european/324074237 Spotify: https://open.spotify.com/album/1XM84Glc4OAUIh6qr0LAJd   Livestream: Dvořák – Morawetz Connections II: https://arts.ucalgary.ca/creative-performing-arts/news-and-events/school-events#!view/event/event_id/289813   Livestream: A Celebration of Music by Black Composers II: https://arts.ucalgary.ca/creative-performing-arts/news-and-events/school-events#!view/event/event_id/289893   Chausson: Symphony in B-Flat: Apple: https://music.apple.com/ca/album/chausson-symphony-in-b-flat-major-op-20-franck-le-chasseur/1166131594 Spotify: https://open.spotify.com/album/4bItTskYxH3Q6TgwIi1Uj0   Enescu: Poème Roumain Apple: https://music.apple.com/ca/album/enescu-po%C3%A8me-roumain-vox-maris-voix-de-la-nature/403125669 Spotify: https://open.spotify.com/track/6bOXNXmNOhAd9vqTlStKsz?si=df433a123c0c4ef2   “President’s March (Hail Columbia)” courtesy of the US Army Old Guard Fife and Drum Corps Apple: https://music.apple.com/ca/album/presidents-march-rights-man-death-general-wolf-rights/394209001?i=394209028 Spotify: https://open.spotify.com/track/5Oxxso8ZLyfwd9BHZnVsvB?si=ba4b62b637a446f8   “Transit of Venus March” by John Phillip Sousa, courtesy of the US Marine Band https://music.apple.com/ca/album/transit-of-venus/1021275726?i=1021275907   “Ukrainian Dance” from Far Behind I left my Country featuring UCalgary String Quartet: Apple: https://music.apple.com/ca/album/far-behind-i-left-my-country-klezmer-east-european/324074237 Spotify: https://open.spotify.com/album/1XM84Glc4OAUIh6qr0LAJd   Episode published March 2021 CultureMonster.ca Support the Podcast and help create future episodes at buymeacoffee.com/culturemonster  

- In this episode we will look at George Whitefield Chadwick, a member of the so called Boston 6, and dubbed by John Phillip Sousa as the “Pride of New England”. We will hear parts of his single movement work _Aphrodite_ , and find out how closely the music ties to the mythical figure herself. Also, we will explore Chadwick's time as student, teacher, then president of the New England Conservatory of music.###Composer- George Whitefield Chadwick's life spans an interesting series of world historical events and societal shifting inventions. I'm quoting from Bill Faucett's biography on Chadwick, as he puts it very articulately: “Born in 1854, just a few years before the first volley of the Civil War, he lived to see the devastation of the Great War and the turmoil wrought by the onset of the Great Depression.” “Chadwick also watched as technology improved—and sometimes invaded—his life via electricity, the phonograph and the gramophone, the telephone, and the motion picture. He traveled widely—first by horse cart and train, then by steamship and automobile, and eventually by air—in the United States and abroad. Chadwick's travels enabled his presence at many of the age's most consequential musical events…” Can you even imagine? Living and being so highly productive before electricity, the car, and the telephone? I know there are many others that did this, but it is a heavy concept to take in.- So Chadwick, born in Massachusetts, studied piano for a little bit at the New England Conservatory in Boston, then with an eye toward studying in Europe, as did most musicians at the time, he took a teaching position at the Michigan Conservatory of Olivet College to earn and save money. After 3 years, he went to Germany and studied piano and organ at the Munich Conservatory. After 2 years there, in 1879, seemingly ready to come back to the US anyway, Chadwick was invited to conduct his own _Rip Van Winkle_ Overture at Boston's Handel and Haydn Society Triennial Festival. So, he packed up and came back to Boston for good. Then, over nearly a decade, Chadwick held various church organ positions, conducted orchestras, managed festivals, and composed more and larger pieces. In 1897, though reticent at first to accept the position, Chadwick became director of the New England Conservatory of Music. (as a side note, this is very similar to how William Schuman became director of Juilliard, after declining the position multiple times) Though the position took up much of his time, Chadwick continued to teach composition and compose a great deal himself. He was even commissioned to write for Connecticut's Norfolk Music Festival, for which among other pieces he composed _Aphrodite_, the piece we will discuss shortly. - Chadwick's composition portfolio is large and eclectic. Piano and organ works, chamber music, orchestral, concerti, choral and stage pieces. He worked a great deal between that and his position at NEC. The ONLY thing that slowed him down was his health. First, it was Rheumatism, which made him lose some teeth and degraded his eyesight. That led to gout, which gave him a lot of chronic pain. But what did him in was a heart condition. Because he consistently wrote in his diary throughout his life, we have a clear though sobering account of the days leading up to his death. For example, on December 27, 1930 he writes “Paderewski dinner and concert,” “Had a heart attack and could not go.” Just like that! As if it was a minor inconvenience!###Culture- Our piece today is _Aphrodite_, written in 1911, Chadwick actually wrote this long, one movement work in a single month! The piece itself is quite hefty orchestrationally as well, notably calling for triple woodwinds, 4 horns, 4 trumpets, off-stage trumpets, both harp and celesta, and field drums.- As I mentioned, Chadwick wrote this piece for the Norfolk Festival. To put the Norfolk Festival performance into perspective, June of 1912, this was only 6 weeks after the sinking of the Titanic! Even Chadwick remarked “[it] has so overshadowed all other affairs that I could not get into any mood to write.”###Back story and anecdote of piece- Apparently, the impetus for this work was born from Chadwick's fascination with the marble bust of Aphrodite herself at the Museum of Fine Art in Boston. Though the work is entirely instrumental, Chadwick worked out a translation of ancient Greek poetry to accompany the score:In a dim vision of the long agoWandering by a far-off Grecian shoreWhere streaming moonlight shone on golden sandsAnd melting stars dissolved in silver seas,I humbly knelt at Aphrodite's shrineImploring her with many a fervid prayerTo tell the secret of her beauty's powerAnd the depths of the ocean whence she sprang.At last the wave-born goddess raised her handAnd smiling said: “O mortal youth, behold!”Then all these mysteries passed before mine eyes.- Intriguingly, while the vast majority of Chadwick's work is Romantic, Germanic, structured in form, this piece is, obviously, highly programmatic. While it is one movement, he designates titled sections: Moonlight on the sea, Storm, Requiem, The Lovers, Children Playing, Approach of a Great Army and Hymn to Aphrodite, Moonlight scene partly repeated, and Finale. A thematic strain is persistent throughout, instead of a formal rotation.###Analysis of pieceNow let's hear the piece itself. This 2002 NAXOS recording is of the Nashville Symphony conducted by Kenneth Schermerhorn. On a side note, because of the pandemic, the Nashville Symphony was forced to cancel their entire 2020-2021 season. This is of course grave news for the organization, the musicians, and their audience. I truly hope that the situation turns around for the Nashville Symphony and they get back to making music as quickly as is possible for everyone's safety.- A very melancholy beginning, the solo viola plays a variation of the Aphrodite motive that will persist throughout the piece. Accompanied by clarinets, the short phrase ends on a deceptive and un-resolving chord, followed by an ominous statement by the timpani.- After this repeats, building suspense, the texture settles in, an undulating figure in the strings, while the English horn plays the Aphrodite motive.- Though this section expands and builds, it is never harsh, never erupts. Not only does the activity remain relatively calm, the melody itself is rarely presented with a bright instrument, like oboe or flute, and even when it is it's combined with clarinet or English horn to mitigate the brighter timbre of the instrument. This is a keen insight of orchestration on the part of Chadwick- Eventually this transitions to a raucous Storm section, heavy on the low brass and percussion.- Having built up a substantial amount of tension, Chadwick opens up directly into the Requiem. Immediately, the simple theme is accompanied by quick running chromatic scales in the lower register, swelling over and over.- Having released a great deal of the opening tension during the requiem, Chadwick enters “The Lovers” section. This opens with a violin and horn duet that develops an intimate melodic line, likely signifying the lovers themselves.- After this opening, the lyrical line is developed to a fulfilling crest, and in Wagnerian style opens into a lightness and quicker tempo only to arrive at yet another, greater, fuller moment of bliss.- Following a very light, waltz-like section meant to be the “Children Playing”, Chadwick then makes use of offstage drums and trumpets to introduce the extended march of an approaching “Great Army”. The march builds up and as the army arrives, a grand Maestoso gives way, presenting a “Hymn to Aphrodite”.- When the drama finally plays out, Chadwick reprises the “Moonlight” theme from the opening, but this time with a bit more brightness. At last, he brilliantly allows the undulating accompaniment to organically expand, adding broader and larger swelling wind chords over the top, as if breathing in sweet relief to the end.###Outro- Chadwick was often accused, notably by his own colleague Horatio Parker, for being technical, craftsman like. Honestly, I don't hear what they hear. I find my self more engaged in this music every time I hear it. On top of that, Chadwick partly has a lot to do with the fact that in my own conservatory training I was offered and even at times encouraged to enrich myself with traditions other than just that of Europe. Do not get me wrong, I can play Bach, Mozart, Beethoven, Brahms, Mahler, etc. ALL DAY LONG. Though, I am thankful to people like Chadwick who encouraged American teachers, performers, and composers to believe in their own set of traditions, skills, instincts. Now, we have a mix of everything. What could be better?Music:'Aphrodite'By: George Whitefiled ChadwickPerformed by: Kenneth Schermerhorn, Nashville Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We figured out how to livestream to YouTube on the fly, and John Phillip Sousa'd the shit out of the final episode of The Dragon Reborn! Grab a snack, this is along one, kids. Find us online: http://bit.ly/WhiteTowerPod Support us on Patreon: http://bit.ly/WhiteTowerPatreon

This episode explores the rise to prominence of brass bands or marching bands after the U.S. Civil War. We discuss the shift in ideals of patriotism that follows the war, the emergence of the brass bands as an emblem of middlebrow nationalism, and the rejection of highbrow music at the Columbian Exposition of 1893. We then discuss John Phillip Sousa's contributions to the arguments surrounding copyright and his qualms about recorded music. We then examine Sousa's approach to march composition and the way in which it combines images of "barbaric splendor" and elements of the parlor song to give rise to a new vision of masculinity and its role in nationalism.

Die Bilder der Gewalt mögen verblassen und die Gedenkfeiern zu Ende gehen, aber was bleibt übrig von den Demonstrationen mit Hunderttausenden, die friedlich auf den Straßen amerikanischer Städte marschiert sind, gesungen haben, Haltung gezeigt haben? Sind die Proteste nur ein kurzlebiger Trend, eine flüchtige Momentaufnahme unserer Zeit oder ist diese wachsende Bewegung der Beginn eines signifikanten und tiefergehenden Wandels?Nach drei Wochen anhaltender Demonstrationen analysieren wir ihre Auswirkungen, die bereits jetzt erzielten Erfolge – und was alles noch zu tun bleibt.   Links:Trump at West Point Academy 2020 Graduation. June 13. Short.Trump Speech at West Point Academy 2020 Graduation.  June 13Rayshard Brooks shooting, Atlanta Police Department Body Cam Video.  GRAPHIC!!Credits:The Marine Band.  The Thunderer, John Phillip Sousa.  1889.  Public Domain

What was your first concert? Mine was Rabbit and they were getting litttttt. Also, Dave Matthews is practically John Phillip Sousa. 

This is the 50th episode! We've done 50 of these bad boys. There should be fireworks and John Phillip Sousa music or something. I want to thank our listeners, those that have been with us from the start and new listeners just joining us – it is so great to have you all here and The post Collected Edition: Episode 50: Swamp Thing: A Murder of Crows appeared first on The Collected Edition.

and so then we just kept on talking. if you listened to our last episode, Orbweb Slinging Teen, then you'll remember we cut it off abruptly because we finished talking about the soundtrack; but we didn't stop! this is what we kept chattering about. bare with us because at first it's just rambling. but we figured it turned into something interesting, so we wanted to release it anyway. but beware: a lot of it is us talking out of our asses - don't @ us. love you!

Blades, bosoms, butts and blood. This show has it all! Killer kids, John Phillip Sousa, and ridiculous power-ups. Get ready for Jake’s roast of this shows fan service and Daniel’s passionate defense of this Trigger masterpiece.

Since 2003, the 60-Second Lecture Series has challenged Arts and Sciences faculty to distill a wealth of knowledge into a one-minute talk. Every Wednesday in September and April sees Penn Arts and Sciences faculty members standing at a podium on College Green and lecturing on topics ranging from human history, to fractions, to fly fishing—all in under a minute. The latest OMNIA podcast recaps the fall 2018 lectures and highlights two old favorites. In this episode, you'll learn about greening vacant lots and what that means for crime rates, little-known medieval words that accurately describe the 2018 midterm elections, interpreting the Constitution, the very nature of time, and the evolving cultural and political questions raised ever-improving technologies of speech recognition and information retrieval. Our dip into the archives features a 2009 talk titled “Why Achievement Isn't Normal,” given by Angela Duckworth, Christopher H. Browne Distinguished Professor of Psychology, 2013 MacArthur Fellow, and New York Times best-selling author of Grit, and a 2015 lecture, “What Video Games Have Taught Me About Shakespeare,” by Rebecca Bushnell, School of Arts and Sciences Board of Overseers Professor of English, and former Dean of Penn Arts and Sciences. Many thanks to our fall 2018 lecturers: John MacDonald, Professor of Criminology and Sociology and the Penny and Robert A. Fox Faculty Director at the Fels Institute of Government Emily Steiner, Professor of English, and Aylin Malcolm, Ph.D. student in English Samuel Freeman, the Avalon Professor in the Humanities and Professor of Philosophy and Law Jamal Elias, Walter H. Annenberg Professor in the Humanities and Professor of Religious Studies and South Asia Studies Mark Liberman, Christopher H. Browne Distinguished Professor of Linguistics. To view the complete archive of 60-Second Lectures featuring faculty, students, and alumni, visit the Penn Arts and Sciences Vimeo library: https://vimeo.com/channels/60seclec Produced by Penn Arts and Sciences • Narrated and edited by Alex Derrick • Music by Blue Dot Sessions, John Phillip Sousa, and Xylo-Ziko Subscribe to the OMNIA Podcast by Penn Arts & Sciences on iTunes (apple.co/2XVWCbC) and Stitcher (bit.ly/2Lf2G9h)

Since 2003, the 60-Second Lecture Series has challenged Arts and Sciences faculty to distill a wealth of knowledge into a one-minute talk. Every Wednesday in September and April sees Penn Arts and Sciences faculty members standing at a podium on College Green and lecturing on topics ranging from human history, to fractions, to fly fishing—all in under a minute. The latest OMNIA podcast recaps the fall 2018 lectures and highlights two old favorites. In this episode, you’ll learn about greening vacant lots and what that means for crime rates, little-known medieval words that accurately describe the 2018 midterm elections, interpreting the Constitution, the very nature of time, and the evolving cultural and political questions raised ever-improving technologies of speech recognition and information retrieval. Our dip into the archives features a 2009 talk titled “Why Achievement Isn’t Normal,” given by Angela Duckworth, Christopher H. Browne Distinguished Professor of Psychology, 2013 MacArthur Fellow, and New York Times best-selling author of Grit, and a 2015 lecture, “What Video Games Have Taught Me About Shakespeare,” by Rebecca Bushnell, School of Arts and Sciences Board of Overseers Professor of English, and former Dean of Penn Arts and Sciences. Many thanks to our fall 2018 lecturers: John MacDonald, Professor of Criminology and Sociology and the Penny and Robert A. Fox Faculty Director at the Fels Institute of Government Emily Steiner, Professor of English, and Aylin Malcolm, Ph.D. student in English Samuel Freeman, the Avalon Professor in the Humanities and Professor of Philosophy and Law Jamal Elias, Walter H. Annenberg Professor in the Humanities and Professor of Religious Studies and South Asia Studies Mark Liberman, Christopher H. Browne Distinguished Professor of Linguistics. To view the complete archive of 60-Second Lectures featuring faculty, students, and alumni, visit the Penn Arts and Sciences Vimeo library: https://vimeo.com/channels/60seclec Produced by Penn Arts and Sciences • Narrated and edited by Alex Derrick • Music by Blue Dot Sessions, John Phillip Sousa, and Xylo-Ziko Subscribe to the OMNIA Podcast by Penn Arts & Sciences on iTunes (apple.co/2XVWCbC) and Stitcher (bit.ly/2Lf2G9h)

Since 2003, the 60-Second Lecture Series has challenged Arts and Sciences faculty to distill a wealth of knowledge into a one-minute talk. Every Wednesday in September and April sees Penn Arts and Sciences faculty members standing at a podium on College Green and lecturing on topics ranging from human history, to fractions, to fly fishing—all in under a minute. The latest OMNIA podcast recaps the fall 2018 lectures and highlights two old favorites. In this episode, you’ll learn about greening vacant lots and what that means for crime rates, little-known medieval words that accurately describe the 2018 midterm elections, interpreting the Constitution, the very nature of time, and the evolving cultural and political questions raised ever-improving technologies of speech recognition and information retrieval. Our dip into the archives features a 2009 talk titled “Why Achievement Isn’t Normal,” given by Angela Duckworth, Christopher H. Browne Distinguished Professor of Psychology, 2013 MacArthur Fellow, and New York Times best-selling author of Grit, and a 2015 lecture, “What Video Games Have Taught Me About Shakespeare,” by Rebecca Bushnell, School of Arts and Sciences Board of Overseers Professor of English, and former Dean of Penn Arts and Sciences. Many thanks to our fall 2018 lecturers: John MacDonald, Professor of Criminology and Sociology and the Penny and Robert A. Fox Faculty Director at the Fels Institute of Government Emily Steiner, Professor of English, and Aylin Malcolm, Ph.D. student in English Samuel Freeman, the Avalon Professor in the Humanities and Professor of Philosophy and Law Jamal Elias, Walter H. Annenberg Professor in the Humanities and Professor of Religious Studies and South Asia Studies Mark Liberman, Christopher H. Browne Distinguished Professor of Linguistics. To view the complete archive of 60-Second Lectures featuring faculty, students, and alumni, visit the Penn Arts and Sciences Vimeo library: https://vimeo.com/channels/60seclec Produced by Penn Arts and Sciences • Narrated and edited by Alex Derrick • Music by Blue Dot Sessions, John Phillip Sousa, and Xylo-Ziko Subscribe to the OMNIA Podcast by Penn Arts & Sciences on iTunes (apple.co/2XVWCbC) and Stitcher (bit.ly/2Lf2G9h)

A conversation about the history of the Wind Band and John Phillip Sousa.

On this, the birthday of the United States, Brendan reflects on some relevant themes for the fourth of July and some games that relate to them. Join us! Games mentioned: A Few Acres of Snow Small World Monopoly Diplomacy Axis and Allies Freedom: The Underground Railroad Legendary: Marvel Love Letter Wok on Fire Hanabi Episode music: “Stars and Stripes Forever” by John Phillip Sousa, recorded by the US Army Band Epidose photo: “Fireworks” by Jorgan Kesseler What ideas do you associate with the 4th of July? If you’re not from the US, what is your country’s version of this holiday, and how do you celebrate it? Drop by our guild, #3269, over at BoardGame Geek and let us know!

On this, the birthday of the United States, Brendan reflects on some relevant themes for the fourth of July and some games that relate to them. Join us! Games mentioned: A Few Acres of Snow Small World Monopoly Diplomacy Axis and Allies Freedom: The Underground Railroad Legendary: Marvel Love Letter Wok on Fire Hanabi Episode music: “Stars and Stripes Forever” by John Phillip Sousa, recorded by the US Army Band Epidose photo: “Fireworks” by Jorgan Kesseler What ideas do you associate with the 4th of July? If you're not from the US, what is your country's version of this holiday, and how do you celebrate it? Drop by our guild, #3269, over at BoardGame Geek and let us know!

On this, the birthday of the United States, Brendan reflects on some relevant themes for the fourth of July and some games that relate to them. Join us!Games mentioned:A Few Acres of SnowSmall WorldMonopolyDiplomacyAxis and AlliesFreedom: The Underground RailroadLegendary: MarvelLove LetterWok on FireHanabiEpisode music: “Stars and Stripes Forever” by John Phillip Sousa, recorded by the US Army Band Epidose photo: “Fireworks” by Jorgan KesselerWhat ideas do you associate with the 4th of July? If you’re not from the US, what is your country’s version of this holiday, and how do you celebrate it? Drop by our guild, #3269, over at BoardGame Geek and let us know!

On this, the birthday of the United States, Brendan reflects on some relevant themes for the fourth of July and some games that relate to them. Join us!Games mentioned:A Few Acres of SnowSmall WorldMonopolyDiplomacyAxis and AlliesFreedom: The Underground RailroadLegendary: MarvelLove LetterWok on FireHanabiEpisode music: “Stars and Stripes Forever” by John Phillip Sousa, recorded by the US Army Band Epidose photo: “Fireworks” by Jorgan KesselerWhat ideas do you associate with the 4th of July? If you’re not from the US, what is your country’s version of this holiday, and how do you celebrate it? Drop by our guild, #3269, over at BoardGame Geek and let us know!

March in to the next episode of The Music History Project as the NAMM Resource Center team reflects on the work of John Phillip Sousa. Featuring content from Harold Gore, Paul Bierley, James Saied, Steve Dillon, and John P. Smith we celebrate everything that is patriotic in honor of the 4th of July.

I'd like to share strategic communication and stakeholder engagement lessons from the commandant of the Marine Corps. So to set the stage, in Washington D.C. the Marine Barracks Washington is downtown. If you've ever heard of 8th and I, that's Marine Barracks. It's the oldest post of the Corps. As the oldest post of the Corps, they do something very special every Friday evening during the summer called the evening parade. And according to their website, the parade has become a universal symbol of the professionalism, the discipline, and the Espirit de Corps of the United States Marines. The story of the ceremony reflects the story of Marines serving throughout the world. Whether aboard ship, in foreign embassies, at recruit depots, or in divisions, or in the many positions and places where Marines project their image, the individual marine continually tells the story of the Marine Corps.  So the evening parade, let me paint a picture for you. You pull up and immediately, even though you're on the streets of Washington, D.C. and it's really crowded, lots of traffic. You're immediately met by a group of Marines who are in their full-service dress. The white hat, the blue jacket, the white pants, and they're just exquisite. They've got all their medals and they meet you, they park you, they bring you in, and they're very, very welcoming and professional. I was able to go to a VIP reception that the commandant hosted for about 200 people. He gave remarks and he also introduced the guest of honor, House Majority Leader Kevin McCarthy, and then there were 3 other congressional members who participated that evening, along with about 24 NCAA coaches. And those two groups are really important. There were many other people there that night. And then typically, after the reception which lasts about an hour and a half, out on the parade deck there are bleachers that hold probably 2,000 people, and they give an hour and fifteen-minute performance where they have Chesty XIV, who is the current mascot of Marine Barracks Washington. He's an English bulldog, he has all of his uniform and decorations on, all of his medals and awards. The silent drill team which is just absolutely astonishing in their precision and the Marine Band also gives a performance including numbers by John Phillip Sousa, one of the most famous Marine Band leaders. So altogether, it's an evening where you get to experience the Marine Corps on parade, but you also get to engage with both enlisted and officer marines. So during the reception, we had both officers and really junior enlisted marines come up and ask us how we were doing, welcomed us to the Barracks, talked about their role in the Marine Corps. They are very much steeped in their tradition in history and it gives you a very personal welcome and really heartwarming experience, being part of that whole evening. After the performance, the members of the VIP reception were able to take photos with the Commandant and his wife, with the drill team, with the mascot, and with some of the bandsmen. It's a really wonderful evening and lasts a couple hours.  So here's some strategic communication lessons. For the purpose of this exercise, I'm talking about strategic communication in terms of the stakeholder engagement that affects your organization's ability to survive and thrive. I'm not talking about media relations, I'm not talking about broad public engagement. I'm talking about focusing on those stakeholders who have some kind of really important effect on your organization and its ability to exist and continue to operate. So the lens I would like to share with you, that we'll look at this through, is, and if you're a marketer, you're familiar with AIDA, A-I-D-A, which is an acronym that stands for Attention, Interest, Desire, and Action. So if you think about this being a funnel, at the very widest, open part of the funnel is attention. You have to get somebody's attention. Once you've got their attention, you have to create interest in what it is you're doing, your organization has to offer, whether it's a product or a service. Then you have to move them from interest to desire. You want them to, in the case of sales marketing, you want them to buy your product or purchase your service. In the case of the Marine Corps, you probably need to attract recruits, and there are other things that the Corps depends on as well. And finally, once you have that attention leading to interest leading to desire, you want them to take action.  So in this case, there are three groups of people who are there participating. You have the Congressional members, you have coaches, and you have members of the public. All three of those are important for the future of the Marine Corps. So for the Congressional members, what does the Marine Corps, like every other government organization, rely on from Congress? One of the main things is funding. So that night we had the House Majority Leader and three other members of Congress. Through that process, they have a better understanding of the Marine Corps. They certainly have a positive impression of the professionalism and discipline and the polish of the Marines, and that probably leads them to be predisposed to positively supporting the Marines when they put in their funding request.  Same thing with the coaches. These are NCAA coaches from a lot of different sports, from, I believe, that night were Division 3 coaches from around the country. Those coaches, whether they are just coaching or they're coaching and they're teaching on campus, are interacting with students and with parents, and they are in a prime position to make recommendations and suggestions for avenues that the students might follow for the rest of their careers. Being able to recommend the United States Marine Corps only serves to drive talented, professional, disciplined, young people to the recruiters. That also helps the Marine Corps because they're always looking for new enlisted and officer recruits, and to have the parents also being exposed to the Marine Corps in this very positive setting, that gives another voice to recommend the Marine Corps as a potential career path for young people.  If you think about what the Marine Corps is entirely dependent on, they're dependent on recruits and funding. Those are the two big things. So over the course of one summer season, you could have all of the members of the House and Senate Armed Services Committees that play a major role in determining the funding for all the military services, you could have most of the professional staff members that work on those funding packages, you could have most of the members of the House and Senate Appropriations Committees for Defense also participating. And so if you have just the majority of them coming through over the course of a couple of years, now you've reminded them of who the Marine Corps is, what role they play in national security and national defense, why that investment in the Marine Corps is important. You also have touched thousands and thousands of either potential recruits or influencers of recruits, whether they're parents or teachers or coaches. And so those become positive voices to represent the Marine Corps when young people are trying to making a decision about what path they are going to follow in life. So if you think about this from a marketing perspective, in terms of creating influence and positive impressions and getting these groups of people to help you with your messaging to those who are potential recruits and new members of the Marine Corps or to those who make funding decisions about the Marine Corps's budget, the evening parade throughout the summer is a fantastic way to do it. So, is that an opportunity that's only open to the Marine Corps? Absolutely not. Every organization could do that. The United States Army does it with their Twilight Tattoos in Washington, both of which, if you are in Washington or come for a visit, make sure that you see one of those events because they're absolutely spectacular. But if you think about it, any organization, whether it's a school or a manufacturing company or a services company, could take an opportunity to create some kind of personal experience, personal engagement with the stakeholders that are most strategically important to your organization. So for me, that's the takeaway. It's understand who your strategic stakeholders are and why they are so important to you and your organization. Find ways to connect with them that are meaningful and that help to build understanding, and in the AIDA model, they build attention, they create interest, they create desire, and ultimately, they can lead to action that is mutually beneficial for you and your organization and your stakeholders. So that's the lesson for today. I hope you find it valuable. I really want you to get as much value out of this podcast or video series as possible, and I want to know what you have questions about, so if you have a question about public relations, marketing, organizational communication, drop me a line at mark@betterprnow.com. If you have a question about this episode or about the field in general, let me know. Also if you want to nominate a guest for the podcast, drop me a line. Again it's mark@betterprnow.com. I'd love to hear from you, and finally, before we close out, I want to remind you about my transcription partner. They've got a great 25% off deal. Just go to transcribeme.com/betterprnow. I'll catch you on the next episode. Thanks a lot.

The first Convention Hall no longer stands, but it paved the way for the current Convention Center that spans eight city blocks and boasts a variety of spaces to accommodate events from UMKC basketball games to car shows. Convention Hall opened on February 22, 1899 with a performance by John Phillip Sousa's band. It hosted other notable guests before burning to the ground in April 1900, just three months before the Democratic National Convention was slated to be held at the venue. The community banded together to raise funds and complete a brand new building to replace the Convention Hall in time to host the Democratic National Convention. After opening the second Convention Center just in time for the Democratic National Convention it went on to host more notable events, including a Republican National Convention, before being replaced by the Municipal Auditorium. The Municipal Auditorium, built in 1934, was more upscale and larger than the Convention Hall it replaced. Today, events hosted at one of Municipal Auditorium's four venues – Music Hall, Municipal Arena, The Little Theater and Exhibition Hall – are uniquely elegant, as all have been restored to their mid-century glamour. Since the building of the Municipal Auditorium more expansions and renovations have graced downtown Kansas City's convention complex. The most noteworthy expansion was the completion of Bartle Hall in 1994. Named for H. Roe Bartle, Bartle Hall boasts the largest column-free exhibit space and the four art deco inspired pylons that support the roof. The pylons and crowning sculptures, designed by artist R.M. Fisher, are a pillar of the Kansas City skyline. The first Convention Hall was an achievement for downtown Kansas City, providing space for large scale events and paving the way for today's convention complex that includes the Municipal Auditorium, Conference Center, Bartle Hall and a beautiful outdoor event space, Barney Allis Plaza. Explore all our spaces here. SHOW TIMES: February 28, Wednesday 5 p.m. – 10 p.m. March 1, Thursday 10 a.m. – 10 p.m. March 2, Friday 10 a.m. – 10 p.m. March 3, Saturday 10 a.m. – 10 p.m. March 4, Sunday 10 a.m. – 6 p.m. TICKETS: Wednesday – Sunday Adult – $11.00 Junior (8-12) – $6.00 Credit cards are accepted. Organizer Automobile Dealers Association of Greater Kansas City  Website: http://kcautoshow.com/

Los robots han sido un argumento recurrente para guiones de películas y series de televisión, y el principal tema que han tratado en torno a ellos ha sido el de los sentimientos y las emociones que les hacen ser más humanos. Vamos a repasar algunas de las escenas más memorables de robots en las películas "Blade Runner", "El Hombre Bicentenario" y "Yo, Robot" de la mano del equipo de FiccionLab. Voces de Paka Molina, Chelo Araque, Natalia Zamora y Antonio FH. Guión de Paka Molina. Edición, efectos y montaje de Javi Cantón. Con música de Vangelis, Edgar Rothermich, James Horner, John Phillip Sousa, Aretha Franklin y Marco Beltrami. Una producción de FiccionLab, la ficción sonora de RadioLab.

Los robots han sido un argumento recurrente para guiones de películas y series de televisión, y el principal tema que han tratado en torno a ellos ha sido el de los sentimientos y las emociones que les hacen ser más humanos. Vamos a repasar algunas de las escenas más memorables de robots en las películas "Blade Runner", "El Hombre Bicentenario" y "Yo, Robot" de la mano del equipo de FiccionLab. Voces de Paka Molina, Chelo Araque, Natalia Zamora y Antonio FH. Guión de Paka Molina. Edición, efectos y montaje de Javi Cantón. Con música de Vangelis, Edgar Rothermich, James Horner, John Phillip Sousa, Aretha Franklin y Marco Beltrami. Una producción de FiccionLab, la ficción sonora de RadioLab.

My special guest for my first Fourth of July episode is Michael Colburn, former director of the United States Marine Corps Band ("The President's Own") and current band director at Butler University. Mike joins me to discuss his time in the Marines, his current position at Butler, and the importance of being ready for any opportunity that might come your way. Topics: Mike's background as a euphonium player and son of a high school band director Performance vs music education degrees and the need for musicians to be entrepreneurial A deep discussion into the Marine Band including auditions, requirements, it's mission, and a few anecdotes from Mike's time as director Mike's transition to becoming a conductor and the lessons he's brought to Butler University from his time in the Marines. Working with composers and his thoughts about the future of music education. His favorite work and performing Stars and Stripes Forever thousands of times. Links: Butler University The United States Marine Band, "The President's Own" Dan Perantoni Adam Frey Percy Grainger: Lincolnshire Posy Biography: Michael Colburn joined the faculty of Butler University as Director of Bands in August, 2014. In addition to conducting the Butler University Wind Ensemble, he offers instruction in conducting, euphonium, and the history and literature of the wind band. Before coming to Butler, Colburn served for 27 years in “The President’s Own” United States Marine Band, where he held a variety of positions including Principal Euphonium (1991-1996), Assistant Director (1996-2004), and Director (2004-2014). As Director, Colburn was music advisor to White House and regularly conducted the Marine Band and Chamber Orchestra at the Executive Mansion and at Presidential Inaugurations. He was promoted to Colonel by President George W. Bush in a private Oval Office ceremony in 2007, and in 2014 he was awarded the Distinguished Service Medal by Gen James Amos, Commandant of the Marine Corps, and the Medal of Honor by the Midwest Band and Orchestra Clinic Board of Directors.  Colburn is an active guest conductor and clinician. He regularly conducts bands at numerous state and regional festivals and has guest conducted several professional and university bands and wind ensembles. Committed to the creation of new music for winds, Colburn serves as the Co-Chair of the Sousa-Ostwald Award, a prize sponsored by the American Bandmasters Association in order to promote new works for wind band/ensemble. He has served as an adjudicator for the Sudler Award, the Barlow Endowment, Music for All, and the Col. George S. Howard award for excellence in military bands. Colburn is a member of Washington D.C.’s prestigious Gridiron and Alfalfa Clubs, the American Bandmasters Association, and a board member of the John Philip Sousa Foundation Recording of Stars and Stripes Forever by John Phillip Sousa (http://www.marineband.usmc.mil/) [Public domain or Public domain], via Wikimedia Common

On this day in 1944 one of the most fires in history struck the Ringling Brothers & Barnum and Bailey circus in Hartford, CT. Learn how the music of John Phillip Sousa helped reduce causalities. 

This week Tim has us race from Sonic the Hedgehog to John Phillip Sousa! Sky learns what a scatter band is while Kyle explores the presidency and person of Bill Clinton.

John Phillip Sousa the IV author and chairman of committee to elect Dr. Carson, Kevin Lundberg Colorado state senator on article 5, Author Jeffery lord with What America needs and John LeBoutillier start the week with Tron Simpson. More at TronShow.com

Today in 1944 one of the most fires in history struck the Ringling Brothers & Barnum and Bailey circus in Hartford, CT. Learn how the music of John Phillip Sousa helped reduce causalities.

Hi, and welcome to the Open Licensed Music Podcast, the show where we highlight music from artists who let you share their music.  I'm Ralph Wacksworth, and today's episode is featuring steampunk music, some of which has lyrics.(They Don't Make) Airships (Like They Used To Anymore) (4:15)Pay McGroin and the Teleporting Sheep (2:46)Alchemists Tower (0:57)Graveyard Shenanigans (3:40)the beginning (1:47)The legend of terror (1:34)High Noon Soundtrack (0:47)Rush to the End! (1:08)That was (They Don't Make) Airships (Like They Used To Anymore) by Confabulation of Gentry featuring Capt. John Sprocket from The Cog Is Dead, which is available from The Funny Music Project and is licensed under an Attribution Noncommercial Share-Alike license.  After that was Pat McGroin and the Teleporting Sheep by mrgeeza, which is available from SoundCloud and is licensed under an Attribution license.  Then we had Alchemists Tower by Kevin MacLeod, which is available from incompetech.com and is licensed under an Attribution license.  Next up was Graveyard Shenanigans by Steampianist, which is available from SoundCloud and is licensed under an Attribution Noncommercial license.  After that was the beginning by IstaMusic, which is available from SoundCloud and is licensed under an Attribution license.  Then we had The legend of terror by Aledjones_music, which is available from Jamendo and is licensed under an Attribution Noncommercial Share-Alike license.  Next up was High Noon Soundtrack by Gemma Horbury and finishing up was Rush to the End! (Music by: Steven O'Brien), which are both available from SoundCloud and are licensed under an Attribution license.Mechanical Hearts (2:52)The Woven Dream - Epic Orchestral (1:26)Zadok the Priest (1:46)Smile - Sung by Chad Doeden (0:20)The Laboratory (3:15)That was Mechanical Hearts by Aldaron Del'Aenrysch, which is available from SoundCloud and is licensed under an Attribution license.  After that was The Woven Dream - Epic Orchestral by Walid Feghali, which is available from SoundCloud and was licensed under an Attribution license as of February 24, 2013.  Then we had Zadok the Priest by Blindingham, Smile - Sung by Chad Doeden by Aaron's Records(Aaron A.), and finishing up was The Laboratory by Steampianist, all three of which are available from SoundCloud and are licensed under an Attribution license.Today's app-of-the-day is MuseScore, a music notation and scoring program that makes it very easy to typeset sheet music.  You pretty much just click the staves to add notes to them in whatever lengths you want and it takes care of drawing all the stems and such and generally expressing the music you draw in using normal music notation rules.  It's really cool and, due to the number of automatic organization and cleanup features, makes it quite easy to typeset sheet music.  Even if you don't know much about musical theory, I'm confident you could still compose playable songs with relative ease with it.  It's available for Linux, Mac OS X, and Microsoft Windows.  Download it today at musescore.orgNow for a short noncommercial break from one of our nonsponsors, followed by more music.The Memoirs of Sherlock HolmesEthereal(nop mix) (3:44)Ludus Mobilis V: Toccata & Fugue (10:38)CsO237(taeb) - music058 (1:45)Time for Hope (ft. SackJo22, Ehma) (1:36)Dill Pickle Rag (1:43)Breaking the siege (2:01)Sound Off (2:52)Mad (5:23)That was Ethereal(nop mix) by @nop, which is available from ccMixter and is licensed under an Attribution license.  After that was the very long song Ludus Mobilis V: Toccata & Fugue by the Society for the Development of New Music, which is available from Jamendo and is licensed under an Attribution Noncommercial Share-Alike license.  Next up was CsO237(taeb) - music058 by cso237, which is available from SoundCloud and is licensed under an Attribution license.  Following that was Time for Hope (ft. SackJo22, Ehma) by Syenta, which is available from ccMixter and is licensed under an Attribution Noncommercial license.  After that was Dill Pickle Rag by The Joy Drops, which is available from SoundCloud and is licensed under an Attribution license.  Then we had Breaking the siege by Celestial Aeon Project, which is available from Jamendo and is licensed under an Attribution Noncommercial Share-Alike license.  Next up was Sound Off by John Phillip Sousa and performed by the United States Marine Band, which is available from Musopen and is licensed as Public Domain. Which is totally awesome.  Finishing up was an edited version of Mad by Mikey Mason, which is available from The Funny Music Project and is licensed under an Attribution Noncommercial Share-Alike license.So, that's all for today.  Remember - piracy of commercial music only proves your dependence on that model and justifies further censorship and restriction.  So don't pirate it - replace it with something better.  Listen to open licensed music, donate to the artists behind it, go to concerts, and buy music from artists whose record labels don't see you as their enemies.  Support artists where your support actually counts.This episode was made using Gentoo Linux, Audacity, Audacious for organizing playlists, and Leafpad for notes, and is licensed under the Creative Commons Attribution Noncommercial Share-Alike license.  Feel free to give it to your friends, or if you didn't like it, your enemies.  Links to the songs in this podcast are available on the website.  Listen in next time for some electronic music.  See 'ya!Download MP3

Hi, and welcome to the Open Licensed Music Podcast, the show where we highlight music from artists who let you share their music.  I'm Ralph Wacksworth, and today's episode is featuring cartoon music.The Honors March (0:45 @ 0:10)Habanera (4:07 @ 0:51)Divertissement - Pizzicato (from the ballet Sylvia) (1:38 @ 5:01)Hebrides Overture/Fingal's Cave (11:22 @ 6:36)That was The Honors March by John Phillip Sousa and performed by the US Navy Band, which is available from Musopen and is licensed as Public Domain.  After that was Habanera from the opera Carmen by Georges Bizet and performed by Kevin MacLeod, which is available from incompetech.com and is licensed under an Attribution license.  Then we had Divertissement - Pizzicato (from the ballet Sylvia) by Léo Delibes and performed by Kevin MacLeod, which is available from incompetech.com and is licensed under an Attribution license.  Finishing up was The Hebrides overture or Fingal's Cave by Felix Mendelssohn and performed by the Czech National Symphony Orchestra for the Musopen project, which is available from Musopen and is licensed as Public Domain.As you've just heard, this week's episode is not all Public Domain like I usually aim for for cartoon music episodes.  But it is still Attribution, so there's still plenty you can do with this music.So with that said, let's get back to music.Prelude to act 3 and bridal chorus (from Lohengrin) (6:33 @ 18:54)Home Sweet Home (1:17 @ 25:26)The Messiah, Hallelujah (3:51 @ 26:43)La Cumparsita (3:47 @ 30:36)Canon in D Major (5:55 @ 34:25)That was Prelude to act 3 and bridal chorus from Lohengrin by Richard Wagner and performed by the United States Marine band, which is available from Musopen and is licensed as Public Domain.  After that was Home Sweet Home by Sir Henry Bishop and performed by Lucas Gonze, which is available from soupgreens.com and is licensed under an Attribution license.  That recording could probably be considered a form of historical preservation - he used not only sheet music but instruments from 1900 and earlier to play it and has the sheet music available on his website if you want to try playing it yourself.  Then we had The Messiah, Hallelujah by George Frideric Handel and performed by Orchestra Gli Armonici, which is available from Musopen and is licensed as Public Domain.  Next up was La cumparsita by Gerardo Matos Rodríguez, which is available from Wikipedia and is licensed as Public Domain.  Finishing up was Canon in D Major by Johann Pachelbel and performed by Kevin MacLeod, which is available from incompetech.com and is licensed under an Attribution license.Today's app-of-the-day is DOSBox, an x86 emulator specifically intended for running old games.  For those of you unfamiliar with emulators, when you run DOSBox, it basically boots up a simulation of an old computer inside of your new one, allowing you to run old programs that no longer run properly on modern computers.  DOSBox runs pretty much everywhere - there's even a port of it for my cell phone.  It's available for Linux, BSD, OS/2, OpenSolaris and OpenIndiana, BeOS and Haiku, Kolibrios, RISC OS, XBox, PSP, Wii, Palm OS, webOS, Symbian, Maemo, BlackBerry Tablet OS, Android, Apple iOS, Mac OS X, Microsoft Windows, and probably many more.  Check it out today at dosbox.comNow for a short noncommercial break from one of our nonsponsors followed by more music.Nonsense NovelsAlso Sprach Zarathustra (1:26 @ 44:03)Rock-A-Bye Baby (5:22 @ 45:25)Pop Goes The Weasel Music Box (0:16 @ 50:46)Sobre las Olas (7:27 @ 51:02)Manhattan Beach (2:17 @ 58:30)That was the Sunrise fanfare from Also Sprach Zarathustra by Richard Strauss and performed by Kevin MacLeod, which is available from incompetech.com and is licensed under an Attribution license.  After that was Rock-A-Bye Baby by an unknown composer and performed by Nexus 6, which is available from SoundCloud and is licensed under an Attribution license.  Then we had Pop Goes The Weasel Music Box, again originally by an unknown composer, performed by cgrote, which is available from FreeSound and is licensed under an Attribution license.  Next up was Sobre las Olas by Juventino Rosas and synthesized by, and I'm going to give this my best shot, Alberto Eliseo Méndez Blackaller y orquesta XYZ Antares, which is available from IMSLP and is licensed under an Attribution license.  Finishing up was Manhattan Beach by John Phillip Sousa and performed by the United States Marine Band, which is available from Musopen and is licensed as Public Domain.So, that's all for today.  Remember - piracy of commercial music only proves your dependence on that model and justifies further censorship and restriction.  So don't pirate it - replace it with something better.  Listen to open licensed music, donate to the artists behind it, go to concerts, and buy music from artists whose record labels don't see you as their enemies.  Support artists where your support actually counts.This episode was made using Gentoo Linux, Xubuntu Linux, Audacity, Audacious for organizing playlists, and Leafpad for notes, and is licensed under the Creative Commons Attribution license.  Feel free to give it to your friends, or if you didn't like it, your enemies.  Links to the songs in this podcast are available on the website.  Listen in next time for some steampunk music.  See 'ya!Download MP3Episode 41: Cartoon Music by Ralph Wacksworth is licensed under a Creative Commons Attribution 3.0 Unported License.