Podcasts about juilliard

At age 16, violinist Ariana Kim made her debut with the St. Paul Chamber Orchestra and at age 24, she was appointed acting concertmaster of the Louisiana Philharmonic.  Ariana made her New York recital debut at Carnegie's Weill Hall during her doctoral studies at Juilliard and she is now a tenured professor at Cornell University.  Equally devoted to contemporary and long-established literature, Ariana held a 10-year position with the New York New Music Ensemble Ne(x)tworks and she is currently in her 19th season with The Knights. The 2024-2025 season brought a 6-performance residency at the Minneapolis Institute of Art, and she gave a rare performance of Bartok's Violin Concerto No. 1 at Jordan Hall in Boston with the Cornell Symphony.  Her solo album, (un)common thread, explores improvisation through the lens of Mozart and Beethoven sonatas alongside world folk music, with collaborators Roger Moseley (fortepiano) and Shane Shanahan (percussion) was recently released on Tiger Turn Records.  

Composer and pianist Christopher Jessup recorded two of his works with the London Symphony Orchestra — then spent the years after Juilliard unlearning the difficult, angular music he thought he was supposed to write. He explains why he stopped being afraid of things sounding pretty, and why a four-minute piece can carry as much weight as a symphony.Jessup is based in New York and graduated from The Juilliard School in 2021, where he studied composition with Melinda Wagner and piano with Jerome Lowenthal. He records for PARMA Recordings and its Navona imprint. The four-time Grammy-winning choir The Crossing recorded his choral cycle Astronomia, and The New York Times critic Zachary Woolfe singled out its movement "The Mississippi at Midnight" for its "eerie wonder."The conversation covers the concerto performance in Italy that fused the composer and the pianist into one artist, the June 2024 London Symphony Orchestra sessions filmed at LSO St Luke's, his ongoing work with The Crossing on a piece about how the brain heals from trauma, and why climate and mental health keep surfacing in his catalog. His solo album Emergence arrives February 5, 2027, with the title track released as a single on January 8, 2027.Classical Post is a video podcast on how classical musicians build careers, hosted by Jonathan Eifert and based in New York. Publishing original artist interviews since 2018 and in podcast form since 2021, the archive now runs past 150 conversations — long-form, on the record, and in the artist's own words.Produced by Gold Sound Media — specialist video-first marketing for elite performing arts institutions and major-stage artists. Clients include the Van Cliburn International Piano Competition and the Gilmore Piano Festival.--Christopher Jessup: https://www.christopherjessup.com/Gold Sound Media: https://goldsoundmedia.com/Classical Post: https://classicalpost.com/

This episode brings together performers, educators and a neuropsychologist to explore how improvisational theatre (“improv”) can support healthy aging. Drawing on experiences across comedy, performance and research, the speakers highlight how improv may help reduce depression and anxiety, which are key risk factors for dementia. Alongside co-hosts Jay Ingram and Dr. Allison Sekuler, guests Tim Paul, Romy Teperson, Robert E. Daniel and Dr. Kristin Krueger (Rush University Medical Center, Cook County Health) share how improv promotes social connection, physical movement and cognitive engagement.  From training to community programs, the conversation underscores how humour, creativity and practice can build confidence, resilience and well-being, making improv a powerful and accessible tool for enhancing quality of life across the lifespan. Guests: Tim Paul Improv teacher and performer since 2010; Second City, Annoyance Theatre; Chicago and screen credits; psychology student focused on applied improvisation. Romy Teperson Actor-writer trained at Harvard, Yale, Juilliard; improviser with major comedy programs; credits include TV, film and comedy writing roles. Robert E. Daniel Founder and Chief Comedy Officer of Standups & Startups helping leaders communicate through comedy; trained performer, workshop leader and creator of Pitches Get Stitches®. Dr. Kristin Krueger Board-certified neuropsychologist from Rush University Medical Center and Cook County Health, studying aging and improv; leads Chicago-area groups.

Running on Empty is an interesting film by Sidney Lumet that, in our opinion, doesn't get enough love. Judd Hirsch and Christine Lahti play a married couple forced to go underground when their activist ways take an unfortunate turn and someone is accidentally killed. Now, that event took place nearly twenty years earlier, so it's mostly relevant as the setup to the film. In the present day, they have two boys: one is a tween and the other (Phoenix) is nearing the end of his high school career. Because of the parents' situation, they're forced to move frequently, take odd jobs and depend on old friends to cover for them. It's a cool take on the "sins of the fathers" argument, as their lives are having an effect on their oldest son, who is a talented musician and could conceivably miss out on getting a Juilliard education. Further complicating matters is his rapidly developing relationship with a girl at his school, played by Martha Plimpton. How does the entire family navigate these complications? COMING ATTRACTIONS: We're going to spend the next five episodes dealing with limited series, what the kids used to call miniseries. Our next episode will be the series version of Fanny and Alexander by Ingmar Bergman, which was eventually cut down into a feature-length film. We're going though all 312 minutes, though! Join us, won't you?:

800,000 college students are paying full tuition — to earn LESS than a high school grad. Not a typo. The government just cut off federal loans for degree programs that don't pay off. Dr. Phil names the schools cashing the check anyway — USC, Juilliard, NYU, Reed — and breaks down why $260,000 can buy you a $40K salary. Before your kid signs that loan, listen to this. Thank you to our sponsors:Don't wait! If you're on Medicare or will be soon, reach out to Chapter: Call: (352)-845-0659 or go to https://askchapter.org to learn about your Medicare options and get help finding ways to save money.Struggling w Poor Sleep? RELAXIUM® Sleep is backed by a 90-day guarantee, so you've got nothing to lose. Enjoy restful and refreshing sleep with drug-free, non-habit forming RELAXIUM® Sleep. Get your risk-free bottle now. Go to https://TryRelaxium.com or call 800-952-7770.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The fastest way to get better is not a secret scale system or a new bow hold. It's learning how to think like a musician who can last. We sit down with cellist Natasha Brofsky, chair of the Juilliard School cello department, to trace the real arc of a life in music: early obsession, world-class training, hard choices about career paths, and the daily mindset that keeps artistry alive under pressure.We talk about growing up in New York City, studying with influential teachers, and why she chose Eastman instead of following a pre-set route. Natasha shares why chamber music became her center of gravity, including what makes ensemble rehearsal work when strong personalities and big ideas collide. Her North Star is respect: for your colleagues' musicianship, for the process of trying ideas honestly, and for building interpretations that evolve over time.On the teaching side, we get practical about conservatory life, Juilliard's intensity, and the psychology of nurturing talent. Natasha lays out a music-first approach to cello technique, explains how intonation and rhythm create resonance and meaning, and argues that “musical” playing cannot exist without fundamentals. We also unpack resilience, handling rejection, and a timely hot topic: how iPads and reading off full scores can sometimes reduce listening in chamber music.If you care about chamber music, cello practice strategies, conservatory auditions, and building a sustainable professional musician mindset, this conversation will challenge you in the best way. Subscribe, share this with a musician friend, and leave a review so more players can find the show.For more information on Natasha: https://www.juilliard.edu/music/faculty/brofsky-natashaYou can also find Natasha on FacebookIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

When was the last time you had fun and experienced joy while doing it? I know. I had a coach many years ago ask me the question, “When do you play?” I was dumbfounded. I worked. I took care of my family. I tried to take care of myself in the middle of all of that. And repeat. I immediately thought there wasn't time for fun. Let alone creative pursuits like I used to have. Like many times in my life, I was wrong and had to learn that fun, joy, and creativity have a place in our lives. This is imperative for our self-care, for our healing, and for living a full life. And yes, we can be creative at work too. During today's conversation with my guest Melissa Dinwiddie, we and I chatted about:Her first book, The Creative Sandbox Way.Why everyone is creative, and why believing the opposite is a lie.The steps we can take today to bust out of a creative rut and start experiencing the joy of creative play todayHer latest book, Innovation at Work, and how The Creative Sandbox Way and Innovation at Work play off one another.How you can start one way, like Melissa did at Julliard, move to an entirely different career as a jazz singer, and land in a new place (aka – your career doesn't have to have a straight line)If you lean towards the work, work, work camp like me, listen into this show with an open mind. And be prepared to debunk the myth that you are no creative because that is simply not true. Here is more about Melissa:Melissa Dinwiddie is an innovation strategist and keynote speaker who helps leaders at mid-to-large tech and SaaS companies turn an innovation mandate into an innovation practice. Her Create the ImpossibleTM framework — Play Hard, Make Crap, Learn Fast — was designed specifically for the analytical, skeptical teams who are convinced they're not creative. Because that's exactly who needs it most.Melissa's keynotes are immersive, interactive experiences that blend storytelling, science, and hands-on activities. Audiences don't just listen — they participate, surprise themselves, and leave with tools they can use on Tuesday morning. The numbers back this up: 94% of attendees find her talks valuable, and 96% say they'd see her speak again.Her background includes work with teams at Meta, Google, Salesforce, and Uber, and she has delivered sessions for SHRM, PMI, AMA, and Stanford. She studied dance at Juilliard, spent 15 years as a professional artist in Silicon Valley, performed as a jazz singer/songwriter and musical improviser, and is the author of Innovation at Work: 52 Micro-Experiments for Brave Leaders (Pluralite Press, 2026).Before we begin, please be sure to share this show with a family member, friend or colleague. As you know, your ratings and reviews help this show to gain traction and continue to grow. Thank you if you have already left a review.Also, if you haven't downloaded one of my freebies on my site, check them out on bravewomenatwork.com. I have 5 Ways to Managing Your Imposter Syndrome, 34 Leadership and Career Affirmations, and 10 tips to Win Your Next Negotiation. Download one or them or all three!If you also have a story to share and a deep desire to become an author, please contact me at hello@bravewomenatwork.com. I am happy to share the details on the project. Alright, let's welcome Melissa to the show!

In 2018, public allegations of systemic sexual harassment were released against flute professor Bradley Garner by the University on Cincinnati. He was found guilty but retired before he could be fired.A subsequent legal case didn't meet the required level of evidence for a conviction. Today I present the full story of the disgraced former Juilliard professor.Grma xInline G Merch ⭐️www.Inlineg.myshopify.comInline G Patreon ⭐️www.patreon.com/TheInlineGFlutePodcastInline G will ALWAYS be free of charge, but signing up to the Patreon helps let this podcast reach new heights, if you can afford it. You'll also get to ask questions to upcoming guests as well as get early access to some episodes. Or if you'd rather not spend money, subscribing to my YouTube channel and following me on Facebook, Instagram and TikTok is a HUGE way to support the podcast. It'll cost you nothing, and it really makes a difference to the algorithm gods. So please interact however you can; like, comment, or subscribe, and help keep this podcast lit xIntro music: Rhythm=Power by Spodo Komodo. Used with permission. All rights reserved by the creator.Chapters:00:00 - Come and Get Me02:50 - Who is Bradley Garner?05:50 - Criminal Investigation10:00 - Videotaping, Minors and What He Did18:25 - Wildacres Flute and Anne Thiebault

In this fascinating conversation, performance psychologist Noa Kageyama explores what learning science really tells us about effective practice, mindful learning, and why repetition alone isn't enough. Discover practical, research-backed strategies that can transform the way you plan lessons, deliver them, and help singers structure practice more efficiently, giving you and them fresh ideas to reach those goals.   WHAT'S IN THIS PODCAST?  1:30 What are elite institutions actually looking for? 2:49 Reflection: The shift in musicians needs/desires  6:28 Mindful Vs Mindless learning 14:26 Learning in the beginner Vs the advanced  19:20 Achieving positive change 28:18 When is the best time to give instruction, feedback and praise?  36:49 The thing about repetition…  45:37 Rest  49:55 What makes an excellent teacher exceptional?  52:35 Bulletproof Musician   About the presenter HERE RELEVANT MENTIONS & LINKS Singing Teachers Talk - Ep.242 Understanding Motor Learning: How It Can Help Us Give Better Singing Lessons Line Hilton  Alexander Technique  Arnold Jacobs Gabrielle Wolf  A Way to Amplify (or Weaken) the Effect of Self-Talk on Performance  John Wooden  The Perfect Wrong Note by William Westney  Micah Killion Pablo Casals  ABOUT THE GUEST  Performance psychologist Noa Kageyama is on the faculty of The Juilliard School and Cleveland Institute of Music. A violinist with degrees from Oberlin and Juilliard before completing a Ph.D. in counseling psychology at Indiana University, Noa specializes in teaching performing artists how to utilize sport psychology principles to more consistently perform up to their full abilities under pressure.  He has conducted workshops for institutions including Curtis, Eastman, Peabody, New England Conservatory, and the U.S. Armed Forces School of Music, programs such as the Starling-Delay Symposium, the Perlman Music Program, and Meadowmount, and for organizations like the Music Teachers' National Association, Performing Arts Medicine Association, and the Association for Applied Sport Psychology.  Noa's work has been featured in The Wall Street Journal, NBC News, CNN, Forbes, Slate, and Lifehacker. He has taught over 10,000 musicians, educators, and learners through his online courses, and authors The Bulletproof Musician blog and podcast, which reaches over 45,000 subscribers every week.  Website Youtube 

This week, Ivy Slater, host of Her Success Story, chats with her guest, Diane Coburn Bruning. The two talk about the origins of Diane Coburn Bruning's passion for dance, the founding and mission of the Chamber Dance Project, which pairs dancers with live musicians, and the unique challenges of sustaining a performing arts company. In this episode, we discuss: How a passion for both dance and live music inspired the founding of Chamber Dance Project, and its unique approach to performances with live musicians. What it was like to build a dance company in New York and later in Washington, D.C., including the challenges of financial sustainability and artist support. Diane Coburn Bruning recognized the need to create opportunities for dancers and choreographers during traditional company layoffs, leading to the company's founding in 2000. Why live music is essential to an authentic dance experience, and the importance of smaller, more intimate venues for both audiences and performers. What goes into commissioning new works and supporting emerging and established choreographers through the Chamber Dance Project. Why building a company is a marathon, not a sprint, and why patience and persistence are critical for growth in the arts. Diane Coburn Bruning, founder of Chamber Dance Project In 2000, choreographer Diane Coburn Bruning founded Chamber Dance Project, dancers & musicians in New York City guided by a conviction that dance should be performed with live music, that smaller venues afford a more intense experience for viewers and performers alike, and that sharing the creative process engages audiences on a deeper level. In 2013 she moved the company to Washington, D.C. Diane is an award-winning choreographer who has worked with dance, theatre, and opera companies throughout the U.S. and abroad. She has received a Guggenheim Fellowship, two fellowships from the National Endowment for the Arts, two fellowships from the New York Foundation for the Arts, the McKnight National Fellowship, a Dewar's Young Artist Award, fellowships from Sundance Film Institute, Yale University School of Drama, Leopold Schepp Foundation and Virginia Commission on the Arts, and a Strauss Fellowship. She has also received support from Meet the Composer, the Harkness Foundation, New York State Council for the Arts, Heathcote Foundation, David Howard Foundation and The Carlisle Project. Diane has worked with Atlanta Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, Boston Ballet, Juilliard Dance Ensemble, American Repertory Ballet, Milwaukee Ballet, Joffrey II, Nashville Ballet, Aspen Ballet, Ballet Chicago, Ballet Memphis, Daghdha Dance (Ireland), Minnesota Ballet, Chautauqua Ballet, Woolly Mammoth Theatre, and Studio Theatre, among others. Her popular Ramblin' Suite, her collaboration with the Red Clay Ramblers, was commissioned by Atlanta Ballet and performed by Milwaukee Ballet. She has worked on productions with Pittsburgh Opera, Glimmerglass Festival, and four with Washington National Opera at the Kennedy Center. Vogue Television did a feature on her, and Dance magazine named her as one of "25 to Watch." Diane's works appeared in the International Ballet Festival in Colombia, South America, and her major work Boots was premiered near Berlin with Ballett Magdeburg. She has done commercial work for top brands and clients including Nickelodeon, People magazine, Lord and Taylor, and Lladro. She has done theatrical work for Studio Theatre, Woolly Mammoth Theatre, and Shakespeare Theatre Company. At Shakespeare Theatre Company, she worked alongside director Michael Kahn, receiving a Helen Hayes Award nomination for her choreography of the musical Improbable Frequencies. She has been a guest artist at more than 25 conservatory and university dance departments, including several times for Juilliard and Tisch/NYU. She has been a teaching artist for Lincoln Center Institute and New York City Ballet and has served on many grant panels. Diane directed the Craft of Choreography Conference, helped found Pacifica Choreography Project, and has led choreographic workshops throughout the country Graduating with honors from Butler University's Jordan College of Arts, she later received their Alumni Achievement Award. She holds a master's in choreography from NYU and studied composition privately with Bessie Schoenberg and music with Juli Nunlist. Diane studied for a year with renowned designers Jennifer Tipton and Ming Cho Lee on a post-graduate fellowship from Yale University School of Drama.     Website: https://chamberdance.org/   Social Media Links: https://www.facebook.com/ChamberDanceProject/   https://www.instagram.com/chamberdanceproject/      

As a special invitation in the middle of our summer exploring desire and intimacy in marriage, Christa pauses to learn from and to share an experience with a soulful friend, welcoming Meredith Hite Estevez, a Juilliard-trained oboist, writer, creative coach, and Enneagram Type 4 married to a Type 7, for a conversation about her beautiful new book, Art Is How God Loves Us. Meredith reframes art not as a measure of talent but as something available to every one of us, a way God speaks, heals, and draws us close. Together they explore how beauty and brokenness alike become places of divine connection, why creativity is a form of communion, and what it means to see yourself as a work of art, beloved, unfinished, and held by a Creator who has not stopped creating you. This is an invitation to dig in personally, not just as a couple, but just you and God! Read Art is How God Loves Us here! https://www.amazon.com/dp/B0G6TGQDVX?lv=shuf&channelId=500&plpRedirect=mhFallback www.ArtistsforJoy.com Listen to Meredith's award-winning podcast here! https://podcasts.apple.com/us/podcast/artists-for-joy/id1509742324 Find more about your type, the pod, freebies, and SO much more at our website right here! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.EnneagramandMarriage.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Take the E + M Quiz at www.QuizforCouples.com ⁠⁠⁠⁠⁠⁠⁠⁠Love what you're learning on E + M? Make sure you leave us a podcast review so others can find us, too⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get Christa's Best-Selling Book, The Enneagram in Marriage, here! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://a.co/d/df8SxVx Learn more about your ad choices. Visit podcastchoices.com/adchoices

En este episodio de Café en Mano Podcast me siento con Omar O'Farrill, actor puertorriqueño, para hablar de lo que realmente cuesta construir una carrera actoral en Puerto Rico.Hablamos de sus comienzos desde niño, su paso por el canal 6, la UPR, Broche de Oro, su experiencia viviendo en Los Ángeles, las audiciones en Estados Unidos, el deseo de entrar a escuelas como Juilliard y NYU, y cómo fue descubriendo el tipo de actor que realmente quiere ser.También entramos en algo que casi no se habla con honestidad: lo difícil que es vivir de la actuación en Puerto Rico, por qué muchos actores tienen que diversificarse, crear negocios o usar otras herramientas para quedarse en la isla sin soltar su pasión.Además, hablamos de redes sociales, wellness, salud mental, aburrimiento, comunidad, creatividad, alcohol, ejercicio, propósito, y cómo Omar está usando su plataforma para algo más profundo que simplemente postear por postear.Una conversación sobre arte, identidad, disciplina, bienestar y lo que significa seguir apostando por tu camino aunque sea cuesta arriba.Gracias por apoyar el podcast y por apoyar Café Dos Caminos. Consigue el café en cafedoscaminos.com y usa el código cafeenmano para un 10% de descuento.00:00 Intro + Café Dos Caminos + bienvenida a Omar O'Farrill03:41 Cómo empezó a actuar y sus primeros pasos en canal 605:30 Broche de Oro, dejar la universidad y lanzarse a trabajar07:20 Regresar a la universidad, graduarse y apuntar a escuelas top09:20 Audiciones para Juilliard, NYU y el proceso en Estados Unidos11:20 Qué tipo de actor quiere ser realmente12:40 Heath Ledger, actor método y técnicas de actuación14:30 Vivir en LA, el choque cultural y actuar en inglés18:00 Qué tipo de papeles y carrera quiere construir22:27 Redes sociales, propósito y dejar de postear por postear27:56 El ruido mental, el celular y aprender a aburrirse31:00 The Walk: comunidad, soledad y conectar con desconocidos35:56 Lo difícil que es ser actor en Puerto Rico38:00 Nadie vive full de la actuación aquí y por qué hay que diversificarse40:30 Cine puertorriqueño, distribución y cómo llevar gente al cine43:19 Nuevos proyectos, dirección y Una Bella Crisis46:30 Fitness, wellness y lo difícil que es mantenerse saludable en Puerto Rico49:30 Alcohol, hábitos y cómo quiere llegar a los 4052:00 Cierre

Jon Tenney is a Juilliard-trained actor and director whose work spans film, television, and theater. Best known for portraying FBI Agent Fritz Howard on the hit TNT drama “The Closer”, Tenney appeared on the series for all seven seasons and directed episodes of both “The Closer” and its spin-off, "Major Crimes”. His television credits also include roles in “Scandal”, “True Detective”, “And Just Like That…”, and “The Lincoln Lawyer”. Tenney has appeared in films such as “I See You”, “The Seagull”, “Tombstone”, “You Can Count on Me”, and “Rabbit Hole”. A respected stage actor, he has performed on Broadway and at Lincoln Center in works by playwrights including Tom Stoppard and David Mamet. His latest role is on the new MGM+ comedy series “American Classic,” which was a labor of love for Tenney, who is also an Executive Producer in addition to a principal cast member alongside Kevin Kline and Laura Linney.See omnystudio.com/listener for privacy information.

Our first guest on the Senior Decision Makers mini-series is Nick Csicsko. Nick is a Managing Director at the Trinity Wall Street endowment, where he joined CIO Meredith Jenkins at the founding of the investment office in 2016 and has spent the last decade helping build a young endowment inside a 320-year-old institution. Today the endowment has grown to over $6 billion. Nick's path into investing is a fascinating one. He studied composition and earned his Doctorate of Music at Juilliard. While there, he talked his way into an internship at Juilliard's endowment and never looked back. Our conversation covers the lessons he carried from music into investing, his investment philosophy, and the details of his process. Manager selection sits at the heart of his work, and he articulates what separates the relationships that endure from the ones that don't. Nick is a remarkable storyteller and shares a number of real-life examples of manager relationships — some that worked out well, some that didn't, and others with insights for allocators and managers alike. Learn More Follow Ted on Twitter at @tseides or LinkedIn Subscribe to the mailing list Access Transcript with Premium Membership   Editing and post-production work for this episode was provided by The Podcast Consultant (⁠https://thepodcastconsultant.com⁠)

Hal Robinson joins the podcast for a wide-ranging conversation on bass pedagogy, sound, and the practical fundamentals that actually move the needle. Hal reflects on his path from early studies with Paul Ellison to a career that spans major orchestras and shares how working alongside influential musicians like François Rabbath and Edgar Meyer helped shape a flexible, student-first teaching philosophy. We also dig deep into Hal's latest book Hitch-hikin', which is a new look at the concepts Hal explored in his book Boardwalkin'. We dig into pivot health, low thumb position ("thumbage"), shifting under slurs, and why "covering notes" can create more problems than they solve. Enjoy, and check out my looks inside The Quad, Strokin', and Boardwalkin', plus our earlier episode on Wabass. You can learn more about Hal on his profile pages, Curtis, Juilliard, and the McDuffie Center for Strings. Thank you to our sponsor! Carnegie Mellon University Double Bass Studio – CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Connect with DBHQ Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens   When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ.   Theme music by Eric Hochberg

Grillo's Pickles added 100K followers in 1 week… by treating Instagram like a music playlist.Google is getting into indie films… investing in the artsy A24 movie studio and giving it AI.Former Fed Chairman Alan Greenspan passed at 100… The Juilliard dropout changed economics with jazz music.Plus, Norway is winning the World Cup… by bringing 1 ton of cod fish with its soccer team.$GOOG $SPYGrab your Tickets to the IPO Tour: Our In-Person OfferingSan Francisco 9/23: https://www.ticketmaster.com/event/1C0064AFB5F688BDBoston 10/14: https://tickets.citywinery.com/event/tboy-the-ipo-tour-in-person-offering-8cdhupSeattle 11/4 (21+): https://www.axs.com/events/1446394/the-best-one-yet-ticketsNEWSLETTER:https://tboypod.com/newsletter OUR 2ND SHOW:Want more business storytelling from us? Check our weekly deepdive show, The Best Idea Yet: The untold origin story of the products you're obsessed with. Listen for free to The Best Idea Yet: https://wondery.com/links/the-best-idea-yet/NEW LISTENERSFill out our 2 minute survey: https://qualtricsxm88y5r986q.qualtrics.com/jfe/form/SV_dp1FDYiJgt6lHy6GET ON THE POD: Submit a shoutout or fact: https://tboypod.com/shoutouts SOCIALS:Instagram: https://www.instagram.com/tboypod TikTok: https://www.tiktok.com/@tboypodYouTube: https://www.youtube.com/@tboypod Linkedin (Nick): https://www.linkedin.com/in/nicolas-martell/Linkedin (Jack): https://www.linkedin.com/in/jack-crivici-kramer/Anything else: https://tboypod.com/ About Us: The daily pop-biz news show making today's top stories your business. Formerly known as Robinhood Snacks, The Best One Yet is hosted by Jack Crivici-Kramer & Nick Martell. Hosted on Acast. See acast.com/privacy for more information.

A freight-train hopper and a Juilliard cellist on staying married by letting each other change. Get the stories behind the episodes → curiousgoldfish.com ( https://www.curiousgoldfish.com/?modal=signup ) Dave and Andrea of Cicada Rhythm met when he ste...

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Justin Goodbread is a serial entrepreneur, business coach, and host of the DecaMillionaire Decoded podcast who has built and sold multiple companies while raising three kids alongside his wife Emily in Tennessee. His father Alan, a Georgia Port Authority worker who homeschooled three children with Juilliard graduates and university professors on a lower-middle-class income, laid the foundation for everything Justin has become as a man, a husband, and a dad. This episode is a raw, honest look at how faith, family, and legacy intersect when life gets hard. Justin shares the stories behind losing his father suddenly at 61, nearly losing Emily during an 8-hour surgery with a 12% survival rate, and how both moments stripped away his obsession with building empires and replaced it with something that actually matters. If you're a dad who wants to leave your kids with more than money, this conversation will stay with you.   Timeline Summary [1:02] Host opens with a special June Alliance offer including a signed book, two courses, and 50 intimate conversation starters for couples [2:38] Guest Justin Goodbread is introduced and the two celebrate a recent episode swap on Justin's podcast [3:46] Justin describes his father Alan and the radical decision his parents made to break a cycle of dysfunction by raising their kids in faith and homeschooling them decades before it was common [7:39] Dad gives 15-year-old Justin an ultimatum: have a job by Friday or don't come home, with three strict rules that made it nearly impossible in their small Georgia town [9:53] Justin finds a stranger's overgrown yard, earns $40, and comes home to a father who reveals the lesson he'd orchestrated all along: at 15, you just outearned me [11:37] Two years after starting "Lawn Care by the Boys," Justin and his brother were earning more individually than their parents combined [12:33] After a final day hunting and a Taco Bell conversation about responsibility and legacy, Justin returns home to a call that his father had a massive heart attack that night [13:22] Justin describes a five-year crisis of faith following his father's sudden death at 61, and how grief forced him to rebuild everything from the ground up [24:01] Justin shares the family motto "No one outworks a Goodbread" and how his dad led with short, hard-to-forget phrases that became the family's operating system [29:18] Seven years of tribulation including multiple deaths, suicides among friends, and the stripping away of money and relationships down to just Justin, Emily, and a handful of close friends [31:39] Emily's surgery runs more than 8 hours when doctors said anything past 6 would mean trouble, and Justin sits alone in the hospital waiting room [33:06] Emily's first words coming out of anesthesia: "Justin, what's another million dollars going to do for us?" and how that question changed the direction of his entire life [39:44] The post-surgery shift: intentionality replaces ambition, marriage gets prioritized above all, and Justin and Emily travel to Costa Rica and Saint Lucia to invest in their relationship like never before [43:51] Justin uses the story of Jochebed and Moses to explain his parenting philosophy: mothers nurture in the early years, then fathers step in to disciple their kids into warriors [46:14] His 21-year-old daughter calls, ready to quit a hard nursing class. Justin says nothing. She already knows exactly what he'll say because she's been discipled. [53:43] Justin closes with Ephesians 6:13: "having done all, stand" — do your dead-level best, trust grace for the rest, and enter heaven exhausted   Five Key Takeaways Your kids are watching you model your marriage more than they are watching you parent them. Justin and Emily made it a point to date each other first, keep their marriage above everything else, and trust that their kids would follow what they saw. When Emily nearly died, their daughter was already grounded enough to say "don't worry, dad, we got this." A crisis of faith is not the end of faith. After his father died, Justin spent five years questioning everything he had been raised to believe. What came out on the other side was not a shallower faith but a more surrendered one — a willingness to stop fighting the path and trust the process even when it costs him. The goal is to enter heaven exhausted, not retired. Justin draws a direct line from his father's work ethic to his own rejection of the Western retirement model. Life built around impact, not income, is the shift that Emily's surgery forced him to make, and it became the most clarifying decision of his adult life. Discipleship is about covering your kids in dust. Justin references the Hebrew tradition of students being covered in the dust of their teacher as they walked behind them. The goal is not just to tell your kids what to believe but to walk faithfully enough in front of them that when it counts, they already know what to do. God gets no glory in quitting. Justin's father said it when the family was tempted to pull the kids from homeschooling. Justin's daughter said it back to him at 21, unprompted, when she was ready to drop a nursing class. The phrase became a family doctrine because it was lived out, not just spoken.   Links & Resources DecaMillionaire Decoded Podcast — http://justingoodbread.com/podcast Connect with Justin on Instagram — http://instagram.com/justingoodbread Join the Dad Edge Alliance — http://thedadedge.com/join 50 Intimate Kid Conversation Starters — http://thedadedge.com/kidquestions Show notes and full resources — http://thedadedge.com/1487   Closing Justin's story is not a highlight reel. It is a funeral, an 8-hour surgery, a crisis of faith, and a daughter who already knew what her dad was going to say before he said a word. If something in this episode hit you, send it to a man in your life who needs it. Rate and review the show so more dads can find it, and go out and live legendary.

Patricia Delgado: From Principal Ballerina to Tony Award Winner Growing up Cuban-American in Miami, Patricia Delgado found her love of performance early and spent seventeen years with Miami City Ballet, a decade of that as a principal dancer. But when she faced a series of injuries, she was forced to confront a question she wasn't ready to answer: what comes next? In this episode, Patricia opens up about the physical and emotional toll of stepping away from the only identity she had ever known, how she found her way into choreography alongside her husband Justin Peck, and what it meant to reconnect with her Cuban roots through the Broadway hit Buena Vista Social Club, leading her to be the first Latina to win a Tony Award for Best Choreography. Chapters: 00:00.200 Welcome to She Pivots 02:54.283 Patricia's Dance Journey Begins 08:43.880 First Introduction to Theatre 17:38.000 Navigating Ballet's Challenges 30:06.560 Patricia's Final Ballet Bow 38:22.079 Buena Vista Social Club 41:53.880 Tony Award Triumph and Its Significance 44:50.480 The Power of Visibility in Choreography 48:20.400 Embracing Change and Future Possibilities 50:22.080 Reflecting on Patricia's Pivot Story 51:22.200 Podcast Credits You can keep up with Patricia Delgado on Instagram @pattiedeldancer Don’t forget to tune into the Tony’s this Sunday, June 7th at 8pm on CBS and Paramount+ Be sure to subscribe so you never miss a pivot story, leave us a rating (it really does help!), and share this episode with a woman in your life who you think needs a little inspiration. She Pivots is a podcast created by host Emily Tisch Sussman to highlight influential women voices, share stories of bold career moves, and inspire women with interviews about career reinvention and how personal pivots can redefine professional success. Join our Substack community! Subscribe here for exclusive content and to connect with other pivoters: shepivots.substack.com Learn more about the inspiring women in our pivoter community by following us on instagram @ShePivotsThePodcast, and check out our website shepivotspod.com for resources and updates. She Pivots is proud to be an iheart podcast.Support the show: https://www.shepivotsthepodcast.com/See omnystudio.com/listener for privacy information.

This week, our guest is opera singer, Mark Schowalter! We talk with Mark about his "unexpected path" from a young "prodigy" in Wauwatosa to the prestigious stages of the Metropolitan Opera! He shares his story about how he "backed into" his career, moving from St. Olaf College to Juilliard before being "Called Up" to the Met for a 25 year career singing opera! He also gives us some insight into the inner workings of the Met, exploring everything from its 13 different unions to the massive scale of its costume and set departments. We wrap up with a candid discussion about the challenges facing "dying art forms" like opera and ballet, the impact of declining arts education on younger generations, and the importance of nurturing a classical music culture. All that and much, much more! Enjoy!

In this episode, Carl explores the rare moments in life when an opportunity feels so deeply aligned that the question becomes, “How could I possibly say no to this?” Using the example of getting into a dream school like Juilliard, he reflects on regret minimization, the difference between making the “right” decision and making a decision right, and the mysterious way life sometimes rearranges itself after we commit to something meaningful. It's a thoughtful conversation about risk, dreams, uncertainty, and the courage to say yes.Want more from Carl? Get the shortest, most impactful weekly email on the web! Sign up for the Weekly Letter from Certified Financial Planner™ and New York Times columnist Carl Richards here: https://behaviorgap.com/ 

Marianna Gailus currently stars in New Born opposite Hugh Jackman and Sepideh Moafi at Minetta Lane Theatre. Directed by Ian Rickson, the play is presented by Audible Theater and TOGETHER, the theatrical partnership led by Sonia Friedman and Hugh Jackman. The company is devoted to creating affordable, intimate, actor-driven storytelling. A graduate of Yale University and Juilliard, Marianna's theater credits include Hedda Gabler, Sylvia, Sylvia, Sylvia, and Vanya, in which she understudied Andrew Scott. Learn more about your ad choices. Visit megaphone.fm/adchoices

On the Hollywood Godfather podcast, Gianni and Jeanie welcome back Matt Servitto, who is recovering after contracting type B flu and double pneumonia following a Colorado Springs fan event. The conversation ranges from faith and aging to Gianni's background (polio, meeting Frank Costello, buying a boat, and his path into The Godfather through Joe Colombo's Italian Anti-Defamation League meeting), including Gianni's rehearsal experiences with Marlon Brando and Brando's acting guidance. Servitto discusses classical training (Oxford and Juilliard), the challenge of competing with “authentic” non-trained performers in film/TV, and how resilience from football helps in an industry defined by rejection. They also address technology and AI, green-screen production, union concerns about likeness and avatars, and hopes that human-made art becomes more valued. Servitto plugs his film A Town Called Purgatory on Tubi and updates his project Batshit Crazy.

Today, I'm thrilled to announce my interview with Tony nominee Michael Hayden. Tune in to hear some of the stories of his legendary career, including the real questions asked by CAROUSEL, finding his singing voice for the role, why he decided to leave CABARET, getting advice from Edward Albee during THE LADY FROM DUBUQUE, playing two roles in ALL MY SONS, what Stephen Sondheim told him during MERRILY WE ROLL ALONG, working at Trader Joe's during the pandemic, why he had trouble memorizing his lines for THE LIGHT IN THE PIAZZA, the lessons he learned at Juilliard, acting opposite Maximilian Schell in JUDGMENT AT NUREMBERG, joining HENRY IV during rehearsals, the intensity of performing in FESTEN, playing Roy Cohn in the first production of ANGELS IN AMERICA, and so much more. Don't miss this in-depth conversation with a veteran actor.

Hazel is a professional French horn artist and a founding member of The Alphorn Project. She is a faculty member at the Boston University School of Music and the Longy School of Music. Hazel spends her summers as a faculty artist and teacher at the Brevard Music Center in North Carolina and Cormont Horn Camp in New Hampshire; she also maintains a private horn studio in Arlington, MA. Originally from St. Paul, Minnesota, Hazel graduated from Harvard University in 2003 with a BA in Biological and Social Anthropology. At Harvard, she studied horn with James Sommerville and was highly active in the chamber and orchestral music scene, receiving both the David McCord Prize for Music and the Louis Sudler Top Senior Prize in the Arts. Hazel studied with Caroline Lemen and Kendall Betts in St. Paul, and with Julie Landsman at The Juilliard School, where she received a Graduate Performance Diploma in 2004. She spent two summers as a Tanglewood fellow, and she has also enjoyed summers performing at the Marlboro Chamber Music Festival, the Pacific Music Festival, and the Aspen Music Festival. Resources & Links: Official Website: hazeldeandavis.com YouTube Channel: Hazel Dean Davis on YouTube Faculty Profiles: Hazel Dean Davis | Boston University College of Fine Arts (or direct link) Hazel Dean Davis | Longy School of Music (or direct link) Hazel Dean Davis | Cormont Horn Camp (or direct link) We want to thank our sponsors ANNA and Alpensong

There are few works in the history of theatre that have entered the emotional bloodstream of humanity quite like Fiddler on the Roof. More than a beloved Broadway musical, it is a profound meditation on family, faith, exile, resilience, identity, love, and the fragile balancing act between tradition and change. Since its debut in 1964, the story of Tevye the milkman, his wife Golde, and their daughters in the tiny shtetl of Anatevka has transcended culture, religion, language, and geography — because beneath its deeply Jewish story lies something universally human: the longing to hold onto one another while the world shifts beneath our feet. Now, in a remarkable and internationally celebrated production presented by the Harold Green Jewish Theatre Company, Fiddler on the Roof returns to the language and cultural heartbeat from which it was born — Yiddish. Performed entirely in Yiddish with English subtitles, this historic production arrives at Toronto's legendary Elgin Theatre from May 25 to June 7 under the direction of Tony and Academy Award winner Joel Grey. What began in New York as a six-week theatrical experiment became an 18-month sensation, earning major awards, standing ovations, and more than 500 performances. Critics called it revelatory. Audiences described it as hauntingly beautiful, deeply human, and emotionally transformative. At the center of this extraordinary artistic achievement stands Zalmen Mlotek — one of the world's foremost authorities on Yiddish theatre and song, Artistic Director of the National Yiddish Theatre Folksbiene, and one of the great guardians of Jewish cultural continuity. Born into one of the most important Yiddish cultural families in North America, Mlotek grew up immersed in the language, music, and memory of Ashkenazi Jewish civilization. His father, Joseph Mlotek, edited the legendary Forverts (Yiddish Forward), while his mother, Eleanor Chana Mlotek, became one of the great archivists of Yiddish folk music. Zalmen himself studied at Juilliard and worked under the legendary Leonard Bernstein before dedicating his life to preserving and revitalizing Yiddish culture through theatre and song. Under his artistic leadership, the National Yiddish Theatre Folksbiene — founded in 1915 and the world's longest continuously operating Yiddish theatre company — has become internationally celebrated for reviving classic Yiddish works and bringing Jewish theatrical history into the modern cultural imagination. Tonight, on The Avrum Rosensweig Show, we explore the enduring power of Fiddler on the Roof, the emotional resonance of hearing it performed in Yiddish, and why this language still carries what Joel Grey calls “history, humour, sorrow and resilience all at once.” For centuries, Yiddish became the emotional heartbeat of Jewish life — the language of storytelling, humour, commerce, lullabies, argument, heartbreak, and survival. Together, we also explore the great Yiddish literary and theatrical tradition shaped by figures such as Sholem Aleichem, I.L. Peretz, Isaac Bashevis Singer, Theo Bikel, Sheldon Harnick, and Itzhak Perlman — and how Yiddish theatre helped shape Broadway itself. But perhaps most importantly, this conversation asks why Fiddler on the Roof continues to unite audiences across generations, faiths, and backgrounds. Why a story rooted in one tiny Jewish village somehow speaks to all humanity. This is not merely an interview about theatre. It is a conversation about memory. About identity. About exile and belonging. About resilience. About family. And about the extraordinary power of language, music, and storytelling to keep a civilization alive. Ladies and gentlemen — Zalmen Mlotek. ——

There are few works in the history of theatre that have entered the emotional bloodstream of humanity quite like Fiddler on the Roof. More than a beloved Broadway musical, it is a profound meditation on family, faith, exile, resilience, identity, love, and the fragile balancing act between tradition and change. Since its debut in 1964, the story of Tevye the milkman, his wife Golde, and their daughters in the tiny shtetl of Anatevka has transcended culture, religion, language, and geography — because beneath its deeply Jewish story lies something universally human: the longing to hold onto one another while the world shifts beneath our feet. Now, in a remarkable and internationally celebrated production presented by the Harold Green Jewish Theatre Company, Fiddler on the Roof returns to the language and cultural heartbeat from which it was born — Yiddish. Performed entirely in Yiddish with English subtitles, this historic production arrives at Toronto's legendary Elgin Theatre from May 25 to June 7 under the direction of Tony and Academy Award winner Joel Grey. What began in New York as a six-week theatrical experiment became an 18-month sensation, earning major awards, standing ovations, and more than 500 performances. Critics called it revelatory. Audiences described it as hauntingly beautiful, deeply human, and emotionally transformative. At the center of this extraordinary artistic achievement stands Zalmen Mlotek — one of the world's foremost authorities on Yiddish theatre and song, Artistic Director of the National Yiddish Theatre Folksbiene, and one of the great guardians of Jewish cultural continuity. Born into one of the most important Yiddish cultural families in North America, Mlotek grew up immersed in the language, music, and memory of Ashkenazi Jewish civilization. His father, Joseph Mlotek, edited the legendary Forverts (Yiddish Forward), while his mother, Eleanor Chana Mlotek, became one of the great archivists of Yiddish folk music. Zalmen himself studied at Juilliard and worked under the legendary Leonard Bernstein before dedicating his life to preserving and revitalizing Yiddish culture through theatre and song. Under his artistic leadership, the National Yiddish Theatre Folksbiene — founded in 1915 and the world's longest continuously operating Yiddish theatre company — has become internationally celebrated for reviving classic Yiddish works and bringing Jewish theatrical history into the modern cultural imagination. Tonight, on The Avrum Rosensweig Show, we explore the enduring power of Fiddler on the Roof, the emotional resonance of hearing it performed in Yiddish, and why this language still carries what Joel Grey calls “history, humour, sorrow and resilience all at once.” For centuries, Yiddish became the emotional heartbeat of Jewish life — the language of storytelling, humour, commerce, lullabies, argument, heartbreak, and survival. Together, we also explore the great Yiddish literary and theatrical tradition shaped by figures such as Sholem Aleichem, I.L. Peretz, Isaac Bashevis Singer, Theo Bikel, Sheldon Harnick, and Itzhak Perlman — and how Yiddish theatre helped shape Broadway itself. But perhaps most importantly, this conversation asks why Fiddler on the Roof continues to unite audiences across generations, faiths, and backgrounds. Why a story rooted in one tiny Jewish village somehow speaks to all humanity. This is not merely an interview about theatre. It is a conversation about memory. About identity. About exile and belonging. About resilience. About family. And about the extraordinary power of language, music, and storytelling to keep a civilization alive. Ladies and gentlemen — Zalmen Mlotek. ——

On this episode of The Bandwich Tapes, I sit down with composer Adam Schoenberg for a thoughtful and deeply human conversation about artistic identity, creative conviction, and the long arc of a life in music. Adam reflects on the early success of Finding Rothko, the orchestral work that helped put him on the map, and what it means to look back on a piece written in his twenties with both gratitude and perspective.We talk about the tension between writing to please others and writing from a place of honesty. Adam shares a formative story from his student years about reshaping a piece to fit institutional expectations, only to realize later that the version that truly sounded like him was the one that opened doors. It leads us into a wider conversation about tonality, contemporary classical music, and why he believes today's musical landscape is more open to different kinds of expression than it once was.Adam also opens up about mentorship, education, and the very different kinds of teachers who shaped him along the way. We discuss studying with John Corigliano, the emotional difficulty of feeling artistically out of place as a young composer, and how those experiences ultimately influenced the kind of teacher he wanted to become for his own students.One of the most moving parts of our conversation centers on Adam's recent health crisis and the way it has changed his relationship to composing, ambition, and time. He speaks candidly about depression, survival, recovery, and the vulnerability of returning to the page after a long silence. We also talk about his percussion concerto Losing Earth, his collaborative relationship with percussionist Jake Nissly, and a powerful new work on the horizon: a Concerto for Body that explores illness, healing, and the orchestra as a living system.Key TakeawaysAdam Schoenberg's breakout orchestral work, Finding Rothko, launched his career and continues to resonate with audiences nearly 20 years later.He learned early on that shaping music to satisfy gatekeepers can come at the expense of artistic truth.Studying with mentors like Robert Beaser and John Corigliano helped him refine both his craft and his confidence as a composer.Adam sees today's classical music world as more stylistically open, with greater room for composers to write in an authentic voice.His percussion concerto Losing Earth, written for Jake Nissly and the San Francisco Symphony, grew out of a highly collaborative process and a desire to create an immersive musical experience.A serious medical crisis took Adam away from composing for nearly two years and forced him to rethink identity, ambition, and what kind of work still matters to him.His upcoming Concerto for Body reflects a new creative chapter shaped by illness, survival, and the experience of coming back.Music from the EpisodeAdam Schoenberg - American Symphony - I. Fanfare - Kansas City Symphony (Michael Stern, Conductor)Adam Schoenberg - Finding Rothko - III. Red - Kansas City Symphony (Michael Stern, Conductor)Adam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussionAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, composers, songwriters, and creative artists for honest conversations about craft, collaboration, career paths, and the deeper stories behind the work. It's a space for thoughtful musical dialogue, with a focus on process, perspective, and the lived experience of making art.Connect with the ShowEmail: contact@thebandwichtapes.com

In this soulful episode of Classic & Curious, Anne sits down with internationally acclaimed jazz trumpeter, composer, and storyteller Dominick Farinacci for a conversation about music, humanity, and the stories that connect us.From growing up in Cleveland to becoming part of Juilliard's inaugural jazz studies program — under the influence and mentorship of jazz legend Wynton Marsalis and the community of Jazz at Lincoln Center — Dominick shares the experiences that shaped both his artistry and his understanding of music as a universal language.Together, Anne and Dominick explore how music can transport us, create connection, and bring people together across cultures and generations. Dominick reflects on his global experiences, the emotional power of jazz, and how music became a bridge between people and shared human experience.Known for his TED Talk at the Kennedy Center on music, wellbeing, and mental health, Dominick also shares the personal experiences that transformed his work, including his mother's cancer journey and the creation of Modern Warrior Productions, an immersive storytelling platform centered around resilience, healing, and the power of storytelling through music.At its heart, this episode is about the beauty of storytelling — the kind that makes us slow down, lean in, and linger a little longer at the table. Because whether through music, memory, or shared experience, these are the conversations that remind us what it means to live a full and beautiful life.Connect with Dominick @DominicklifeConnect with Anne: @classicandcuriouslife, classicandcurious.com and on Substack: Curiosities by Anne Kokoskie

Bowen Ha joined the San Francisco Symphony at the start of the 2024–25 season after training at Juilliard with Timothy Cobb and Harold Robinson, and appearing as a substitute with major orchestras. Born in Shanghai, Bowen's path ran from piano to cello and finally to bass, through Interlochen, the Shanghai Conservatory's affiliated program, and Juilliard. We dig into the nuts-and-bolts of what changed between Bowen's early pro auditions and his San Francisco win: obsessing over details and doing daily metronome work. Enjoy, and connect with Bowen on Instagram and YouTube! Connect with DBHQ Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ. Theme music by Eric Hochberg

Healthcare today can feel overwhelming—not just for patients, but for the teams caring for them. After a major illness or injury, recovery isn't handled by one doctor alone; it often involves a whole network of specialists, from physical therapists to nurses to social workers, all trying to help someone regain their independence and quality of life. Even with all the advances in modern medicine, one question still lingers: how do you get everyone working together in a way that truly feels seamless?So what happens when a physician approaches medicine not just as a science, but as a performance? What can healthcare learn from the way musicians interpret, adapt, and lead in real time?Welcome to I Don't Care. In the latest episode, host Dr. Kevin Stevenson sits down with Dr. Kevin Estes, a Physical Medicine and Rehabilitation (PM&R) physician whose career spans both the concert hall and the clinic. Together, they explore how Estes' background in orchestral conducting and classical music informs his unique approach to patient care, team leadership, and medical decision-making.Key takeaways from the conversation…PM&R physicians as “conductors”: How these specialists lead and coordinate complex, multidisciplinary care teams—bringing together physical therapy, nursing, and medical specialists to deliver unified, patient-centered treatment across every stage of recovery.Creativity and flexibility in care: Why the ability to adapt, interpret, and think beyond rigid protocols is essential not only in music performance, but also in navigating unpredictable patient outcomes and personalized rehabilitation plans.An unconventional career path: The journey from Juilliard-trained musician to physician—and how that unique background shapes a more holistic, creative, and empathetic clinical perspective in modern medicine.Dr. Kevin Estes is a board-certified Physical Medicine and Rehabilitation physician specializing in post-acute care and traumatic brain injury rehabilitation. Before entering medicine in his early 40s, he built a successful career as a professional musician and conductor, earning a master's degree from the prestigious Juilliard School. His work included serving as music director at a prominent New York City church and collaborating with elite musicians in one of the world's most competitive artistic environments. Today, he brings that same discipline, creativity, and leadership into his medical practice, helping patients rebuild function and meaning after life-altering conditions.

Patricia Delgado, Cuban-American choreographer of Buena Vista Social Club, former lead dancer with Miami City Ballet, and professor at Juilliard, joins us to discuss dance, creativity, and motherhood. We also explore the world of Estévez/Paños y Compañía, with Rafael Estévez, Valeriano Paños, and Joel Vargas, as they reflect on breaking stereotypes in the flamenco world through movement. Finally, we feature Blanka Amezkua, an interdisciplinary artist and cultural producer whose work has been exhibited at MoMA PS1, the Queens Museum, and El Museo del Barrio.

What happens when a classically trained musician from Juilliard ends up managing a $6 billion endowment? Today's episode of Origins explores exactly that journey - and what it reveals about how the best institutional investors really think.Nicholas Csicsko, Managing Director of Investments at Trinity Church NYC, brings a rare perspective to venture capital - one shaped by years of classical music training, a doctorate from Juilliard, and a decade building out one of America's most unique institutional investors. Trinity Church, founded in 1697 and endowed with 215 acres of Manhattan by Queen Anne in 1705, has grown its diversified investment pool to over $4 billion under Nicholas and CIO Meredith Jenkins.Together with hosts Nick & Beezer, the group digs into what institutional LPs really look for in venture managers, and what puts them off. From the tension between patient capital and the need for liquidity, to skepticism around sky-high private market valuations and the growing disconnect between private and public markets, Nicholas delivers the kind of frank, independent thinking that makes for a truly exceptional investor.Along the way, they explore the virtues of "cynical optimism" in early-stage investing, the institutional pressures that push LPs toward brand-name funds, and why Nicholas believes the best venture managers are those who know themselves deeply. From the challenges of scaling a venture firm to whether today's AI-driven capital surge is sustainable, this conversation offers a grounded, data-aware take on what it takes to build lasting returns in private markets.—Quotes"If you could put a bunch of investments into a line item that wasn't going to receive scrutiny, that left tail risk of something going to zero would probably be less. But if it's visible, it's discussable. You probably don't get fired for doing the next a16z fund, but you might be questioned if you take a flyer on someone who's up and coming. And so there's this institutional pressure towards, dare I say, conformity. But what's safe? What's perceived as safe?”"It's all fine and good that folks think they can raise and put more money to work, but I'm a little worried about where it's taking us because when open AI raises around 4x larger than any IPO in history, I kind of worry that we're creating a market that is not sustainable because ultimately there's not enough liquidity. There is a massive disconnect there.”"Knowing thyself is probably the number one thing I would attribute to all of the best investors I've met. And as they get older and more experienced, they know what they think they need more and more without stopping challenging their bias, without adding that new person to make them better.”—Time Stamps00:55 Meet Nicholas Csicsko, Managing Director, Investments at Trinity Wall Street02:24 Musician Mindset to Investing03:40 From Juilliard to Finance05:56 Trinity Church Endowment Story09:56 Building the Portfolio and Venture12:31 Institutional Risk and Conformity14:47 Private Public Market Disconnect18:57 DPI, TVPI and Secondaries20:41 Backing Off Radar Managers23:47 Cynical Optimism in Venture28:04 Building a VC Firm Team34:34 Where Venture Fits Today39:02 Too Much Capital and Liquidity?42:20 Closing and Next Episode—LinksConnect with the guest and hosts on LinkedIn!Nicholas CsicskoBeezer ClarksonNick ChirlsLearn more about:Trinity Church NYCAlfred P. Sloan FoundationOpenLPAsylum Ventures

On this episode of The Bandwich Tapes, I sit down with percussionist Jake Nissly, Principal Percussionist of the San Francisco Symphony, for a conversation about what it actually takes to build and sustain a career at the highest level of orchestral playing. Jake's résumé is remarkable, but what stands out even more is the range of hats he wears: orchestral musician, soloist, educator, department chair at the San Francisco Conservatory of Music, drum set player, former drum corps kid, and even Little League coach.We spend time unpacking the reality of orchestral auditions, the intense preparation, the psychological pressure of playing behind a screen, and the almost figure-skating-level precision required to compete in that world. Jake walks through his own path: winning the Detroit Symphony job at 26, then later the Cleveland Orchestra, and ultimately facing the difficult experience of not receiving tenure. Rather than ending his trajectory, that moment reshaped it and eventually led him to the San Francisco Symphony.One of my favorite parts of this conversation centers on Jake's concept of feel. He credits much of his orchestral success to his background in drum set and drum corps, where groove, flexibility, and listening are everything. That experience, he says, translates directly into orchestral playing, even in repertoire like Mahler or Ravel's Bolero, where there's still a pocket to find if you're listening closely enough.We also talk about teaching and the changing landscape for young musicians. Jake shares thoughtful insights about how YouTube and digital access have transformed preparation, often producing incredibly polished players who sometimes struggle to develop ownership, personality, and soul in their playing. It's an honest conversation about pedagogy, resilience, and the kind of musicianship that lifts everyone in the room.Key TakeawaysOrchestral auditions demand extraordinary precision — success often comes down to microscopic musical details.Career paths are rarely linear — setbacks can become turning points rather than endings.Groove matters in orchestral music — Jake's drum set and drum corps background inform his orchestral feel.Listening is the core skill — great musicians adjust in real time to the ensemble around them.Technical mastery alone isn't enough — personality and ownership bring music to life.Teaching requires adapting to new generations — digital resources have reshaped how students prepare.Leadership in music is collaborative — the best players elevate the entire ensemble.Music from the EpisodeJohn Adams - City Noir: I. The City and its Double - St. Louis Symphony (David Robertson, conductor) - Jake Nissly - drum setAdam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussionAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

One missed signup and a burst of kid-level courage can set an entire life in motion. Cellist and composer Dorothy Lawson grew up in Toronto surrounded by classical music and strong school music programs, but she didn't “choose” cello in some grand, cinematic way. She simply chose to participate a day late, and the next opening happened to be cello. From there, the path becomes a masterclass in how musicians are formed: early access, social learning, and the kind of training that turns curiosity into craft.We also get into the part of music that's harder to explain but easier to feel. Dorothy shares research from a university residency where heart-rate monitors track performers and audiences in real time, showing surprisingly synchronized rises and falls. It's a powerful lens on why live performance matters, why vibrations and attention change a room, and why the concert hall can still be a place of real human connection even in a distracted age.From Vienna to Juilliard to New York City, Dorothy breaks down how NYC can sharpen an artist, and how that environment helped shape Ethel, the genre-bending string quartet she co-founded. We talk contemporary classical music, crossover language that welcomes new listeners, collaborations that center Native American composers, and the blunt economics that made classical programming feel predictable until presenters and artists started taking risks again. If you care about chamber music, music education, Juilliard, New York artistry, and the future of the string quartet, you'll leave with both ideas and practical perspective.Subscribe to The Cello Sherpa Podcast, share this conversation with a musician friend, and leave a rating or review so more listeners can find the show.For more information on Dorothy: https://ethelcentral.org/dorothy-lawson/You can also find Dorothy on Facebook and Instagram: @ethelcentralYoutube: @ethelcentralIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Today's guest is a prolific producer behind Sicko Mode, Broccoli, Bad at Love, Kiss Me More, Laugh Now Cry Later, First Class, and APT. — but whose real story isn't the catalog. It's how most of those songs happened by accident.A classically trained concert pianist who spent his teens grinding through Liszt and Prokofiev knuckle-busters, Rogét quietly became one of the most important producers in modern pop and hip-hop — and almost none of it happened the way he planned.This is one of the more honest conversations about what mastery is actually for — what happens when a decade of preparation collides with a 9pm pull-up, a stock preset, and a flute sound turned on by accident. When the world keeps rewarding your simplest moves, who do you become?And The Writer Is... Rogét Chahayed!In this episode of And The Writer Is, we go deep on:Years of grinding Liszt and Prokofiev — and a first big check from four major triads on a fluteThe three-week run in 2016 that produced Broccoli, Skywalker, Bad at Love, and the seed of Sicko ModeThe Mr. Miyagi era under Doctor Dre's right-hand man — and a pajama meeting at Dre's hidden studioSicko Mode — made on a stock preset in a closet-sized vocal booth — and the moment he heard it open AstroworldKiss Me More — a 2-5-1 with a walk-down — and what jazz school actually trained him to doCo-executive producing Jack Harlow's album from 4pm to 4am for a year — and how First Class came togetherAPT. — the song he forgot about until Bruno Mars mentioned it at a friend's barbecueAnd much more...Hit subscribe and turn on notifications. Every week, we go deep with the most interesting creatives in music.Follow us on socials: @andthewriterisA special thank you to our sponsors for making these conversations possible.Our lead sponsor, NMPA — the National Music Publishers' Association. Your support means the world to us.Chapters0:00 Intro2:12 "How does a classical pianist come up with the chords for Broccoli? By turning the keyboard on."4:24 The 9pm Yachty pull-up and the original Korg stock piano6:35 Hearing his flute everywhere — Macklemore, Drake's Portland7:50 The early break that taught him how the music business actually works13:39 "I believe in the good of the business — we can be the generation that watches each other's backs"15:59 Lebanese father, Argentine mother, and a meet-cute at a gas station17:00 Why his dad named him Rogét19:35 Discovering jazz at 15 and the chord that opened the world up24:14 College, hip-hop, and reading liner notes for Scott Storch and Ryan Leslie33:30 Telling Eastern parents he was leaving Juilliard-track for hip-hop37:03 Getting kicked out, teaching 25 piano students a week to survive41:45 The Mr. Miyagi era — Mel-Man, strip-club errands, and getting hazed46:17 The pajama meeting at Doctor Dre's hidden studio50:08 His Lebanese dad hearing Broccoli on the radio52:17 NMPA54:36 Bad at Love — the beat he made and forgot57:50 What is a songwriter? Rogét's answer1:01:28 Skywalker, Hit-Boy, and the arpeggios that became the splish1:04:00 Sicko Mode: a stock preset, a closet-sized vocal booth, and Travis pulling up1:07:08 "Drake comes in and says 'Astro' and I lost it"1:14:23 Laugh Now, Cry Later: a Big Sean intro session to a Drake single in a month1:18:15 Kiss Me More: "the perfect riff" — a 2-5-1 with a walk-down, sped up1:23:15 "Genius comes out of editing" — Miles vs. Dizzy and what jazz actually trains1:24:54 First Class and a year co-EPing Jack Harlow's album from 4pm to 4am1:30:39 APT. — the song he forgot until Bruno mentioned it at a barbecue1:36:04 What he'd tell a 16-year-old version of himself in the Valley right nowHosted by Ross GolanProduced by Joe London and Jad SaadEdit by Jad SaadPost Production VFX by Pratik Karki Hosted on Acast. See acast.com/privacy for more information.

New York City-based Freelancing Percussionist, Teacher and Composer Caitlin Cawley stops by to talk about her professional life and her work with the percussion groups Talujon and Mantra Percussion (04:20), growing up on Long Island, her musical beginnings, and her time in the Juilliard pre-college program (22:00), attending Boston University and Manhattan School of Music for her undergrad and grad career, and how the pandemic and a health scare changed the scope of her percussion future (47:40), and settles in for the Random Ass Questions, including discussions of her experiences in the percussion world as a woman, great science-fiction books and series, New York Pizza, the New York Rangers, great visual art, and KPOP Demon Hunters (01:17:20).Finishing with a Rave on the 2025 documentary film Thank You Very Much (01:44:40).Caitlin Cawley Links: Caitlin Cawley's websiteTalujonMantra PercussionPrevious Podcast Guests Mentioned:Mika Godbole in 2026Ian Antonio in 2023Maria Finkelmeier in 2018Pablo Rieppi in 2024Other Links:Bash the TrashGreg JukesThe Spence SchoolBrass QueensDewa AlitLa MamaMichael LipseyDavid CossinChristopher Graham“Get Off of My Cloud” - The Rolling Stones“Honky Tonk Women” - The Rolling Stones“Sonic Meditation 1” - Pauline OliverosHypermobilityJonathan HaasGreg GiannascoliSam SolomonTim GenisMatthew PellegrinoThe Fifth Element trailerWhiplash trailerThe Great Cities - NK JemisinThe Dune Series - Frank HerbertUrsula K. Le GuinThe Daevabad Trilogy - S.A. ChakrabortyThe Adventures of Amina al-Sirafi - S.A. ChakrabortyEmpire AI - Karen HaoR.F. KuangKatie LedeckyNew York Rangers 1994 Stanley CupJoe and Sal's PizzaKPop Demon Hunters trailerRaves:Thank You Very Much trailer

Cate Blanchett Month reaches its crescendo this week on We Drink & We Watch Things with the film that many consider the definitive performance of Cate Blanchett's legendary career: Todd Field's 2022 psychological powerhouse, Tár. This isn't just a character study; it's a clinical, chilling, and deeply immersive descent into the architecture of power and the erosion of a soul. Pour yourself something precise and sophisticated - Mackenzie's Reputation Reviver OR Tártini, perhaps - as we take our seats for a masterclass in controlled chaos.This week, we analyze the sheer physicality of Cate's transformation into Lydia Tár, from the authoritative sweep of her conducting baton to the sharp, tailored suits that act as her armor. We examine the film's haunting ambiguity, looking at how it uses a world of high-culture prestige to explore very modern questions about "cancel culture," the separation of the artist from the art, and the ghosts - literal or metaphorical - that haunt those at the top. We talk through the grueling intensity of the Juilliard masterclass sequence, the unsettling sound design that mirrors Lydia's unraveling, and why this performance feels like the ultimate culmination of everything Cate has been building toward since Elizabeth.If you love intellectual thrillers, complex anti-heroes, or just want to hear us marvel at an actress operating at the absolute peak of her powers, this is the episode you've been waiting for. We're blending our deep respect for the film's precision with our usual casual banter, making this a truly symphonic highlight of our Cate Blanchett Month journey. The podium is hers - are you listening?This episode VIDEO is live on YouTube AND Spotify!Follow us on Instagram to get ep sneak peaks and find out what's coming up. DM us what you want to hear about next!Interested in what we're watching off the pod? Check out Mackenzie or Lemar's Letterboxd!

Musicians are building the most innovative things! The Sub Pool is a dedicated space where orchestral musicians can promote their experience and availability for short term or substitute hire to Orchestra PM's in the US and Canada.Thomas Zera is a Juilliard trained musician with both 25 years of experience as a tenured Bassist with the Utah Symphony and an accomplished freelance musician with 21 major U.S. orchestras on his CV over a 35 year performance career. In addition to his musical accomplishments, Thomas is a business owner and holds an MBA from Isenberg School of Management. He is a League of American Orchestras Essentials program certificate holder and has served in arts management as Executive Director. Current projects include completing a book detailing a two year performance journey substituting with 11 major orchestras and the launch of The Sub Pool, a dedicated space where orchestral musicians can promote their experience and availability for short term or substitute hire to Orchestra PM's in the US and Canada.https://thesubpool.com/https://www.facebook.com/profile.php?id=61583836315118https://www.instagram.com/the_sub_poolMake sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review! Thanks for joining me on Crushing Classical! Theme music by DreamVance.I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a discovery call from my website.  https://jennetingle.com/work-with-meI'm your host, Jennet Ingle. I love you all. Stay safe out there! Join me for a free workshop on April 20, 2026 - What's in Your Portfolio (career)? We'll look at your portfolio of activities and see what you could improve, optimize, or STOP doing. Where is the low-hanging fruit in your career?You deserve to THRIVE and your artistry MATTERS.Sign up for free at https://jennetingle.kit.com/portfolio 

Why do top trumpet players talk less about routines and more about people? This episode explores how being in the right rooms, hearing great playing up close, and sitting next to the right musicians can reset your internal standard in ways no system or warmup can. It's about sharpening what you listen for and changing how you approach the horn. Guest Manny Laureano reflects on feeling incredibly fortunate for the mentors, colleagues, and encounters that shaped his life, from growing up in East Harlem and finding music through public school to scholarships, Music & Art High School, Juilliard, and experiences with major artists. Manny also shares how he passed those lessons on through decades with the Minnesota Youth Symphonies, and the episode highlights his long tenure as principal trumpet of the Minnesota Orchestra, his influence, and continued work after retiring in summer 2025, including leading the Bloomington Symphony Orchestra. 00:00 Why Real Pros Talk With and About People (in a good way)00:59 Exposure Resets Standards 03:06 Passing It Along 04:06 Manny Laureano on Gratitude and Connections 07:22 About Manny Laureano10:48 Sponsor And Sign Offaretebrass.com

This episode of Across The Margin : The Podcast features an interview with renowned pianist and composer Kimball Gallagher. Gallagher's journey as a pianist has carried him far beyond the traditional concert hall. A Boston-raised musician trained at Juilliard, he began questioning the narrow path often available to concert pianists early in his career. That curiosity led him to launch an ambitious 88-concert tour across seven continents, funded by 88 supporters who each sponsored one key of the piano. These intimate, community-hosted performances brought classical music out of formal halls and into living rooms, cultural centers, and gathering spaces worldwide. Along the way he encountered communities where music served as a tool for leadership, inspiring him to found 88 International, a nonprofit that now runs youth-led music initiatives in Tunisia, Morocco, Senegal, The Gambia, Myanmar, and Taiwan. Its flagship program, Tunisia88, established student-led music clubs in all 592 public high schools in Tunisia, giving students space to write songs, organize concerts, and lead creative projects in their communities. Just weeks ago, that work came to life in the U.S. as the Tunisia88 Alumni Choir completed its first U.S. tour — a two-week East Coast journey where young musicians performed original songs, collaborated with university choirs, and shared how a post-revolution experiment in student voice grew into a global youth movement. Hosted on Acast. See acast.com/privacy for more information.

Remember when blending ballet and hip hop felt like the ultimate early 2000s plot twist? Jackie and Danielle revisit Save the Last Dance to see if this Y2K favorite still earns a standing ovation or deserves a polite slow clap.This week on No More Late Fees, your favorite former Blockbuster besties break down Save the Last Dance with their signature mix of nostalgia and sharp commentary. From Sara's big Juilliard dreams to her move to Chicago after a life-altering tragedy, the hosts unpack the film's emotional core, its approach to interracial relationships, and the cultural impact it had at the time.They dive into their original Y2K ratings versus their current perspectives, questioning whether the story, performances, and dance moments hold up today. Along the way, they highlight standout performances from Julia Stiles, Sean Patrick Thomas, and Kerry Washington, while also calling out moments that feel dated or underdeveloped. Expect honest takes on the film's handling of serious themes, plus plenty of laughs as they revisit memorable scenes and character choices.Joined by guest Tatiana Arrington, the conversation also explores representation in early 2000s teen films, the movie's box office success, and behind-the-scenes insights that add new context to this nostalgic watch. Whether you watched it once or had it on repeat, this episode brings fresh eyes to a movie that left a lasting impression.Be kind and rewind with us by subscribing, leaving a review, and sharing your take on Save the Last Dance. We want to hear if you're still rooting for Sara and Derek or rethinking it all these years later.Keywords: Save the Last Dance podcast, Y2K movie review, early 2000s films, Julia Stiles dance movie, Sean Patrick Thomas, Kerry Washington early roles, nostalgic movie podcast, interracial romance films, dance movie analysis, No More Late Fees podcast·Season 5 Episode 41·—No More Late Fees ⁠https://nomorelatefeespodcast.com⁠909-601-NMLF (6653)—Follow Us on Social:Instagramhttps://www.instagram.com/nomorelatefees TikTokhttps://www.tiktok.com/@nomorelatefees Facebookhttps://www.facebook.com/nomorelatefeesYoutubehttps://www.youtube.com/@nomorelatefees Twitterhttps://x.com/NoMoreLateFees —CONQUERing⁠⁠myconquering.com⁠⁠10% Off Code: JACKIE10—NostaBeautyhttps://nostabeauty.com 20% Off Code: NMLF—DescriptCreator Plan 50% off 2 monthshttps://descript.cello.so/zp4OQqeIMdq—TatyanaInstagramhttps://www.instagram.com/xotatyana https://www.instagram.com/thepopcultureplaybook/ https://www.instagram.com/whatthefilmshow_/TikTokhttps://www.tiktok.com/@tatyanaarrington

Show Notes: John Milbauer explains that, although he didn't graduate from Harvard, his education and career followed a unique path involving music and academia. John reflects that his focus has been a combination of music and ideas, but the structure of academia often separates the two. He mentions his role as Dean of the School of Music at DePaul University in Chicago where they are bringing the two together to provide musicians with a more holistic approach to creative development and expression. Choosing a Career Path At 17 John was accepted into both Harvard Summer School and Aspen Music Festival, and he had to choose which one to attend. He chose Harvard after the advice that young musicians should not pursue music if they can pursue a career in a different field that offers a better chance at success. He describes his love for music and his initial excitement at Harvard, including taking calculus and expository writing. John applied to Harvard's admissions in seventh grade; to him it represented a world of ideas, culture, sophistication and globalism that small town Wisconsin did not offer. Leaving Harvard for a Conservatory John recounts his childhood in northern Wisconsin and his early musical training with Joan Moffitt. He explains how many music instructors tend to teach students bad habits that have to be unlearned later. He explains that he needed purely technical training and he realized that Harvard wasn't set up to provide technical training in music studies, and so, in the middle of his sophomore year, John left Harvard for a conservatory. He details his educational journey from Harvard to Eastman to Juilliard, highlighting the importance of technical training, and the relationship between the mind and body when pursuing creative development.  A Career As a Pianist John pursued his career as a pianist. He talks about his time at the Hungarian Liszt Academy on a Fulbright. He explains the challenges of being a musician in their 30s, including the need for a stable job with benefits. John shares his experience as a piano faculty member at three universities, including the University of Arizona. He describes his decision to pursue a mid-career Master's in Public Administration at the Kennedy School of Harvard, influenced by his 25th reunion. Moving to a Career in Higher Education Administration John talks about going back to Harvard at 49. He realized he needed  broader knowledge, particularly about developing economies, and goes on to explain his decision to pursue a career in higher education administration, influenced by his Kennedy School education. John describes his role as Dean of the School of Music at DePaul University and his efforts to integrate music and academia. He highlights the importance of combining his musical skills with his understanding of economics and government, and shares three key takeaways from his Kennedy School education: economic complexity, the importance of imagination, and the need to resist quantifying good deeds. He explains how these lessons have influenced his work at DePaul, including his approach to growing the school's programs. Harvard Reflections John discusses the importance of imagination in music and the arts, influenced by his class with Roberto Unger. He highlights the role of values in his work, influenced by his class with Rohit Deshpanda at Harvard Business School. John also recounts a special performance with Steve Balderston, a long-time faculty member at DePaul, which helped build trust within the community, and shares a memorable performance of John Cage's Sonatas and Interludes for Prepared Piano, which attracted a full house.   A Vision for DePaul School of Music John discusses the importance of revealing the beauty in music rather than imposing his own interpretation. He outlines his vision for the DePaul School of Music, including its role as a top orchestral training institution. He emphasizes the importance of diversifying the curriculum to include recording arts and performing arts management. John discusses the need for conservatories to focus on specialized training while maintaining a broad educational approach, and he highlights the potential for DePaul to become a leader in complex and diversified higher education in the arts. Timestamps: 05:14: Early Musical Training and Harvard Experience 10:27: Career in Music and Academia 16:02: Transition to DePaul University  21:55: Impact of Kennedy School Education  28:01: Personal and Professional Highlights 34:04: Vision for DePaul School of Music  Links: Faculty: https://www.depaul.edu/faculty/john-milbauer Spotify: https://open.spotify.com/track/43vQxUUaMmzDFTKBND7u2B?si=34e1d0776d604cfb DePaul University:  https://magazine.depaul.edu/s/1906/23/interior.aspx?sid=1906&gid=2&pgid=4425   This episode on The 92 Report:  https://92report.com/podcast/164-john-milbauer-pianist-and-conservatory-leader/ *AI generated show notes and transcript  

ABOUT THE EPISODE:Maya Kruger grew up knowing, in a way children simply know things, that mothers die. Her own mother had lost her mother suddenly at 26, and the shadow of that loss shaped everything, including the fierce, almost desperate closeness Maya and her mother shared. She was so convinced that by leaving nothing unsaid, she could somehow protect what they had. Then, the evening after a morning hike together, her mother was killed in a car accident. Maya was 18, not yet fully formed, and suddenly on her own in a way she had spent her whole childhood bracing for and still could not have prepared for.What followed was not a clean grief. It was the kind that gets woven into everything, into the acting conservatory she attended in Tel Aviv, into the plays she wrote for the national theater, into a one-woman show called Hand Me Downs where she played her grandmother, her mother, and herself all at once. She got into Juilliard and could not go. She got into drama programs in the States and found herself, over and over, cast as other people's mothers, which she describes as both a wound and a doorway. It was not until she was sitting alone for three days on an Outward Bound solo in the Utah desert, nine crackers a day and a whistle around her neck, that something cracked open.She is now a psychotherapist, trauma specialist, and founder of Overture Therapy in New York, where she works with anxious moms navigating the ways that a child's crisis can bring every old wound roaring back to the surface.This conversation goes somewhere I was not entirely prepared for. Maya reframes anxiety in a way that stopped me cold, and she has a way of talking about the guilt and shame that lives in a mother's body when her child is struggling that made me feel genuinely seen. She says something about what anxiety is actually asking for that I keep returning to.If you have ever felt like your child's struggle has cracked open something in you that you did not know was still there, this one is for you.You'll learn:Why Maya grew up believing mothers disappear, and what she tried to do about itWhat maladaptive behavior actually is, and why context changes everythingThe reframe she offers for anxiety that makes it something other than the enemyWhat she means by parking next to yourself, and why it is so hard to doThe message an anxious mom is actually passing to her kids, and how to change itEPISODE RESOURCES:Free, 15-minute consultation with Overture TherapyOverture Therapy websiteHear Brenda Zane on Maya's podcast, “How Did You Get Here?” episode 22This podcast is part of a nonprofit called Hopestream CommunityLearn about The Stream, our private online community for momsFind us on Instagram hereWatch the podcast on YouTube hereDownload a free e-book, Worried Sick: A Compassionate Guide For Parents When Your Teen or Young Adult Child Misuses Drugs and AlcoholHopestream Community is a registered 501(c)3 nonprofit organization and an Amazon Associate. We may make a small commission if you purchase from our links.

TODAY on the GWA Podcast: choreographer Meryl Tankard on her mentor and friend, the legendary dancer and choreographer: PINA BAUSCH (1940-2009). Artist, choreographer, visionary, and trailblazer in bringing dance into the modern world, Pina Bausch – one of the most popular names when it comes to artists' influences – was hailed for her raw, haunting, experimental dances, and all-encompassing productions. The Foundation had some small edits; the Juilliard mention in para3 to explain why she went to NYC, and adding in the name of the new production at the end: TODAY on the GWA Podcast: choreographer Meryl Tankard on her friend, the legendary dancer and choreographer PINA BAUSCH (1940-2009) ✨✨ Artist, choreographer, visionary, and trailblazer in bringing dance into the modern world, Pina Bausch – one of the most popular names when it comes to artists' influences – was hailed for her raw, haunting, experimental dances, and all-encompassing productions. Born in 1940 in Germany in the midst of WW2, from an early age Pina took ballet and dance lessons. In the 1950s, a scholarship at Juilliard took her to NYC, a time of great artistic reinvention, and then back to Germany, where she founded Tanztheater Wuppertal and created her groundbreaking choreographies. While the group, at first, faced hostility, the crowd – and the world – soon realized her innovations. On the magic of dancing with Pina Bausch, Meryl told me:  "Every time we moved it had an emotion behind it ... that's what really shocked everyone at the beginning, because dance had always hidden the pain, hidden the insecurities; we had beautiful hair and costumes. And Pina went, 'let's forget all that. Let's talk about what you are really feeling'. She choreographed vulnerability. She choreographed all our insecurities, and she put music to it. People were just like, wow, that's me. They could see themselves." I meet with Meryl Tankard on the occasion of her creating a new encounter with Bausch's piece "Kontakthof", with “Kontakthof – Echoes of ‘78”, to be performed at Sadler's Wells here in London (7–11 April). With nine of the original dancers returning to their roles, the production will integrate projections of archival footage from the original performance, reflecting the passage of time since its creation. And I can't wait to find out more! THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield "Kontakthof – Echoes of '78" https://www.sadlerswells.com/on-tour/current-productions/kontakthof-echoes-of-78/

Get ready for an incredible journey from Korea to Hollywood with actress Kahyun Kim, whose path to success is defined by grit and vision. From navigating Juilliard to overcoming visa hurdles and building a career in her second language, her story is one of resilience and determination. She shares the hilarious "happy accidents" that shaped her journey—including a desk-humping audition that landed her a dream role and the moment her father crashed a high-stakes Zoom callback. After watching FRIENDS religiously growing up, Kahyun would tell herself every time she passed the NBC sign, "I'm going to be there one day"—and she made it a reality with her series regular role on NBC's St. Denis Medical. These are the unforgettable stories that landed Kahyun Kim right here. Credits: St. Denis Medical Cocaine Bear American Gods Freaky Friday The Rookie: Feds Grey's Anatomy 9-1-1 Austin & Ally Timeless Adam Ruins Everything Shameless Guest Links: IMDB: Kahyun Kim, Actress THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition SELF-TAPE is BACK: Sign up now and get BONUS: Get 'What's My Frame?' Course for FREE THE BRIDGE FOR ACTORS: Become a WORKING ACTOR (50% off special) THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: HOST/PRODUCER: Alyshia Ochse WRITER: Maddie McCormick WEBSITE & GRAPHICS: Chase Jennings SOCIAL: Alara Cerikcioglu

Ryan Spahn is a Drama Desk Award–winning actor and writer. Select Off-Broadway: Richard II (Red Bull), Danger and Opportunity (East Village Basement), The Antiquities (Playwrights Horizons), Jordans (The Public), Merry Me (NYTW), Good Enemy (Audible), Jane Anger (New Ohio), Summer & Smoke (CSC), Daniel's Husband (Westside), Moscow x6 (MCC), Exit Strategy (Primary Stages), Gloria (Vineyard). Select TV/Film: Sub/liminal, Zero Day, Elsbeth, AHS: Delicate, Succession, Modern Love, The Bite, Chicago P.D. Ryan co-wrote the feature film He's Way More Famous Than You and wrote the play Inspired By True Events (Concord Theatricals, Theatrely's “Best of 2024.”). Juilliard graduate and the first teenaged Borg on Star Trek: Voyager. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sedaka, who died last week at 86, wrote and recorded hits in the late ‘50s and early ‘60s – songs like “Calendar Girl” and “Breaking up is Hard to Do.” He was nine years old when he began studying piano at Juilliard. Sedaka told Terry Gross in 2007, “To the shock of my family, after studying at Juilliard I sold 40 million records in five years.” The British invasion derailed his career until years later when Elton John helped revive it, by signing Sedaka to his label. Rock critic Ken Tucker reviews the new album by The Paranoid Style, led by composer-singer Elizabeth Nelson. And Justin Chang reviews the new Pixar film, ‘Hoppers.'To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy