Podcasts about juilliard

Bella Ma, better known as Steak and Butter Gal, is a Juilliard-trained musician, and carnivore diet advocate.Show partners:Jaspr - Save $200 off your Jaspr air scrubber by using this linkQuicksilver Scientific - Save 15% off your first order by using the code "jesse15" at checkoutShow notes:jessechappus.com/719

Two sisters and their methods for shifting performance nerves into joyful performances.Hina & Fiona are sisters and a world-class violin duo. They are Juilliard-trained under Itzhak Perlman and Midori, with Fiona making her New York Philharmonic debut at 16, Hina winning the Elmar Oliveira International Violin Competition, and their debut album Dear to Us out now on Pentatone. In this episode, Dr. Juna talks with them about the mental game of performing under pressure: how to flip from your harshest critic in the practice room to your most convicted self on stage, why they refuse to lean on pre-show rituals, how they recover from a mistake mid-performance, and the adaptability that keeps them calm when nothing ever goes exactly as planned.It's a RELAX TO SOAR™ conversation about the "A" in SOAR — adaptability — Hina talks about how RELAX TO SOAR is a concept she thinks about before she walks on stage.Links:Hina & Fiona → ⁠https://www.hinafiona.com⁠Album Dear to Us (Pentatone) → ⁠https://www.pentatonemusic.com/product/dear-to-us/⁠Hina & Fiona prep and have routines that help them succeed — the RELAX TO SOAR™ system builds that same steady structure into your day.Control your time and cognitively offload your health and performance with the 6-month RELAX TO SOAR™ planner.Sign up now to get free email support with your planner:mindbodyspace.com/storeHashtags: #HinaAndFiona #ViolinDuo #StageFright #PerformanceAnxiety #ClassicalMusic #Juilliard #DearToUs #PerformUnderPressure #MusiciansMentalHealth #RelaxToSoar #MindBodySpace

Charisse Mills turned $2,900 meant for rent into a million-dollar business—but her story includes much more than entrepreneurship.In this episode of Inside the Vault with Ash Cash, Charisse opens up about discovering her voice as a teenager, studying at Manhattan School of Music, creating her own “pop opera” lane, and refusing to let the entertainment industry put her in a box.While still in college, she built a modeling agency managing nearly 83 models and made her first million dollars before graduating. Later, she risked her $2,900 rent money on roughly 50 waist trainers, sold out in one week, reinvested the profits, and grew the operation from her apartment into a Harlem brownstone with employees and thousands of orders.Charisse also gets vulnerable about losing everything, living in her best friend's basement for two years, rebuilding through faith, motherhood, and entrepreneurship, and learning when it is time to pivot.Ash and Charisse also discuss reality TV, relationships, Airbnb, multiple streams of income, children's music, the Royalty Kids Network, investing, AI, product businesses, marketing, and why starting over does not mean starting from nothing.This conversation is about knowing when to create, pivot, rebuild, and bet on yourself again.ConnectGuest: @charissemillsInside the Vault: @insidethevaultHost: @iamashcashInsideTheVaultShow.comIAmAshCash.comJoin the Abundance CommunityLearn how to MAKE money, MANAGE money, and MULTIPLY money while building the mindset and foundation for lasting financial freedom.TheAbundanceCommunity.comSubscribe, turn on notifications, and share this episode with someone ready to bet on themselves again.Chapters00:00 – Preview: Music, millions and reinvention02:30 – Introducing Charisse Mills04:18 – Who is Charisse Mills?05:04 – Discovering her voice06:27 – The performance that changed everything07:07 – Trinidad, New York and opera09:02 – Juilliard vs. Manhattan School of Music10:18 – Going where someone sees you11:21 – Why her international roles changed12:21 – Creating Pop Opera13:21 – Refusing to fit the industry's box14:27 – What she would change about her career15:21 – Why drama sells16:30 – Reality TV and scandal17:08 – Coming Up Miami and starting over17:46 – The End That Saved Me19:28 – Relocating to Miami20:36 – Relationships and leadership22:19 – Charisse's relationship perspective24:35 – Building generational legacy25:09 – Starting a modeling agency in college25:47 – Making her first million before graduating26:42 – Betting $2,900 of rent money27:15 – Selling out in one week27:34 – From her apartment to a Harlem brownstone28:22 – Becoming a top waist-training business28:29 – Why nobody knew she owned it29:04 – Celebrity marketing29:55 – Making $20K–$30K from one post30:08 – How Amazon changed the business30:36 – Learning to pivot31:54 – Little investment, big return32:01 – Building an Airbnb portfolio32:20 – Motherhood and her miracle baby33:04 – The New York hustle35:04 – Losing everything35:23 – Living in a basement for two years35:45 – Being robbed and rebuilding38:50 – Faith through adversity39:38 – Greatness on Display41:01 – Reality-TV drama42:23 – ABC Bounce and children's music43:13 – How Ms. Rachel inspired her44:13 – Launching Royalty Kids Network46:00 – Acting and returning to music47:59 – The legacy Charisse wants to leave48:40 – Let business fund your passion49:40 – Advice to her 18-year-old self50:18 – Missing the early Bitcoin opportunity50:44 – Why you cannot ignore AI51:23 – Become a producer, not just a consumer52:18 – Using AI in business53:23 – Monetizing books and expertise54:01 – Build around what you believe in54:59 – Bad and Bougie Beauty55:43 – FOMO marketing and selling out56:46 – Becoming more vulnerable57:59 – Never be afraid to start over58:34 – Depression, faith and rebuilding59:09 – Family, teamwork and integrity59:43 – Connect with Charisse Mills1:00:04 – New projects and upcoming releases1:00:59 – Closing the VaultAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, Zachary Smith, CEO and co-founder of Datum and previously the founder of Packet (acquired by Equinix for $335M) and Voxel (acquired for $35M), joins Liam to explain why the internet is about to undergo its biggest transformation since the cloud. As AI agents, vibe coding, and thousands of new applications flood the web, Zac believes the open internet model we've relied on for decades is breaking down. Zac argues that every person, every company, and eventually every AI agent will need its own private network. He explains why the future internet may look more like the Visa network than today's public web, how digital sovereignty and geopolitics are reshaping infrastructure, and why developers are increasingly relying on dozens of cloud services rather than just the hyperscalers. The conversation also dives into Zac's unlikely journey from Juilliard-trained musician to building and exiting two infrastructure companies, the emotional toll of entrepreneurship, and why he keeps coming back to startups despite already having financial freedom. Key Topics Covered Zach's journey from Juilliard and classical music to building infrastructure companies Building Voxel and selling the company for $35M Starting Packet and its $335M acquisition by Equinix Why AI agents are creating a security problem for the internet Why every person and company may eventually need a private network The difference between the public internet and private internet Why the future internet could resemble the Visa network Digital sovereignty, geopolitics, and the splintering of the internet Why developers increasingly rely on dozens of cloud providers How AI is turning millions of people into software developers APIs, MCP, and the next phase of application architecture Why Zach believes AI agents should only talk to approved systems Open source, network effects, and Datum's long-term vision The emotional side of entrepreneurship and why community matters more than money Episode Timestamps 00:00 Introduction and welcome 00:06 Zach's background: from Juilliard and classical bass to startups 02:44 Building Voxel and the early cloud era 08:44 Starting Packet, raising capital, and the Equinix acquisition 15:28 Why taking time off helped him dream again 18:02 What Datum does and the idea of a network cloud 19:38 Three forces changing the internet 20:41 Hyperscalers explained: Amazon, Google, and Microsoft 24:52 Why new cloud providers are emerging 27:16 Digital sovereignty and the fragmentation of the internet 32:03 Public internet vs. private internet 32:54 Inside the physical "meet me rooms" that connect the internet 39:49 How internet routing actually works 45:56 Why developers use so many cloud providers 48:10 APIs, MCP, and AI agents 51:07 Why the future internet may resemble the Visa network 54:23 Who Datum's customers are, and why Datum is open source 1:03:07 AI agents and the next generation of software 1:07:50 Why Zach keeps building companies, and why he does what he does Connect with Zac: LinkedIn: https://www.linkedin.com/in/zsmith/ Website: https://www.datum.net/ Partner Links Upgrade your AI toolkit: https://www.theaireport.ai/ai-executive-pass Subscribe to our free newsletter: https://newsletter.theaireport.ai/subscribe Join the community: https://community.theaireport.ai/checkout/the-ai-report-welcome-gift?coupon_code=WRTH Learn more about your ad choices. Visit megaphone.fm/adchoices

I am pretty sure you didn't catch the article in the Somm Journal written by David Schulner. And if you did, you were not as jealous as I was. Well, let's call it inspired. Trading the glitz of Hollywood for the chaos of the restaurant floor, David Schulner doesn't just pour wine—he pours gasoline on the genteel myths swirling around it. You'll hear what happens when a successful TV showrunner, fresh off the picket lines of the 2023 writers' strike, crashes headfirst into the closed ranks of Michelin-star restaurants. Forget those dreamy drone shots over gleaming vineyards; David Schulner exposes the cutthroat realities of wine service, the humiliations of being the new kid at 50, and why, even with a TV resumé, you can't buy your way onto the restaurant floor. If you still think wine is all velvet gloves and romantic stories, think again—this is one guest who's happy to spill the dirty secrets, right alongside the Pomerol. In this episode, you'll discover what hospitality really means in an industry obsessed with pedigree, why most people—Sommeliers included—are entirely faking it, and who gets left behind when Napa and Bordeaux "evolve." David Schulner and Paul Kalemkiarian aren't afraid to torch the sacred cows of the wine world, from pretentious tasting rooms to the sanitized myths of customer service. Instead of parroting the party line, you'll get a front-row seat to the raw, awkward, ego-bruising reality of what it takes to serve, sell, and survive when the masks come off. If you're tired of wine podcasts that sound like a sommelier's TED Talk—or shows that make the industry look like a playground for privileged insiders—this conversation will rattle your cage. David Schulner lays bare why most restaurants won't hire a middle-aged rookie with Hollywood connections, why real hospitality is an act of rebellion against wine snobbery, and how every industry he's loved is "on the death knell"—and that's exactly what makes them magic. The result? An unfiltered, sometimes uncomfortable, ultimately inspiring blueprint for anyone who's ever wondered if there's a place for outsiders in one of the world's most insular trades. You won't just walk away with surface-level talking points. You'll come away with forbidden knowledge and questions that might keep you up at night. Here's your table of contents—open these books at your own risk:

Watch NOW: PREMIERES from the 2026 Vail Dance Festival here: https://www.youtube.com/live/IWR7IJTIUjM?si=Hew1Dst2yyijlh9k.Enjoy one month of Conversations on Dance on Patreon for free! Redeem here. Join Conversations on Dance hosts Rebecca King Ferraro and Michael Sean Breeden for a live podcast recording exploring the special and unique process of preparing today's generation of dancers for the world stages. In this special conversation, four of today's passionate leading dance educators gather to discuss how they cultivate tomorrow's stars and what it means to pass artistry from one generation to the next.The panel includes Nikolaj Hubbe, former Artistic Director of the Royal Danish Ballet and former New York City Ballet principal; Margaret Tracey, Artistic Director of Canada's National Ballet School and former New York City Ballet principal; Carla Korbes, former Pacific Northwest Ballet principal and now ballet chair at Juilliard; and Melissa Toogood, Bessie Award-winning dancer and Dean of Juilliard's Dance Division. Together, they bring decades of combined artistic and teaching experience to a conversation about craft, education, and a love of dance.Conversations on Dance was the recipient of the 2024 Clive Barnes Award for Journalism and Media Achievement.Access bonus episodes on Patreon: https://www.patreon.com/cw/conversationsondanceWebsite: conversationsondancepod.comJoin our email list: https://conversations-on-dance.kit.com/7f73880f5bInstagram: instagram.com/conversationsondance Hosted on Acast. See acast.com/privacy for more information.

“My mom went to Juilliard, graduated from Juilliard. She taught us all of our instruments. We performed very high-level classical music, but we never felt a connection with the audience. And that's what we really yearned for.” — Dan Fedoryka You might not guess that the Fedoryka brothers, the core of the four-piece band Scythian, would have started their musical journey in such a formal setting, judging from their freewheeling, sweat-soaked and jet-engine-loud performances. As spontaneous and loose as you may think they are, however, Scythian is actually leaning hard into that foundational experience with their approach. It is the second part of Dan's quote that is obvious from the first notes they play on stage, as Scythian is well known for getting their audiences fully engaged in their show — wide swaths of spontaneous dancing, pockets of shoulder surfing, and much of the audience singing along at full volume. You might not expect that such a scene would be commonplace at a music festival founded on the music of the decidedly non-raucous flat-picking guitar legend Doc Watson and the festival's namesake, his son and frequent musical partner Merle. But they are a staple at the festival over their now 17-year tenure there, and Doc gave them their first opportunity to play the festival himself. In April 2026, I caught up with Scythian for a conversation that touched on everything from their first time playing at MerleFest, to their nomadic warrior ancestors from Ukraine and much more. We also dive into brand new music from the band as we salute the memory of Doc and Merle with a hearty toast from their homeland, “Nostrovia!”. Happy Warriors of Folk - Scythian Joe Kendrick Download Songs heard in this episode: “Get There” by Scythian“Bulgarian Suite” by Scythian, from Paste Studio's “On The Road” session at the 7th Annual Suwannee Spring Reunion“Life To Live” by Scythian Thank you for dropping by! We encourage you to follow this series wherever you listen to podcasts, and to share it with a friend. We are especially grateful for top ratings and your reviews. You can follow this series on social media: @southstories on Instagram, at Southern Songs and Stories on Facebook, and you can view these episodes and a lot more on my YouTube channel, at the handle JoeKendrickNC. We can also send you newsletters via Substack, where you can read the scripts of these podcasts, and get updates on what we are doing and planning in our quest to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. This is Southern Songs and Stories, where our quest is to explore and celebrate the unfolding history and culture of music rooted in the American South, and going beyond to the styles and artists that it inspired and informed. - Joe Kendrick

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

From an early age, violinist Vijay Gupta seemed destined for classical music greatness. He performed at Carnegie Hall at just eight years old, studied at Juilliard and Yale, and joined the Los Angeles Philharmonic at 19. But behind his success, he was struggling with anxiety, addiction and burnout. In his new memoir, Restrung, Vijay reflects on how an experience on Skid Row in Los Angeles changed his life, and why music's true purpose is human connection — not technical perfection.

Are you a great actor with years of professional training, but still aren't booking co-star, guest star, or commercial roles in TV and film? In this episode of the Actors! You Are Enough!! Podcast, Celebrity Master Acting Coach Amy Lyndon and Talent Agent Ofelia Habelt reveal why many highly trained actors struggle to book on-camera roles despite years of experience.Learn why theatrical performances can hurt TV and commercial auditions, why the product is always the star in commercials, how to adjust your acting for co-star, guest star, and feature film roles.

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

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.

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

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.

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 

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

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

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