Podcasts about la philharmonic

On this week's show, Julia Turner is joined by guest hosts Nadira Goffe and Dan Kois to answer the urgent question: is The Naked Gun starring Liam Neeson and Pamela Anderson the vital satire we need for our time? (Answer: No, but does that matter? The joke-dense spoof reboot directed by Akiva Schaffer is a hoot.) Next, they turn to tropical shores and talk about Chief of War, the epic series about Hawaiian history starring and produced by Jason Momoa. Finally, the panel examines the legacy of the musical Hamilton on its ten-year anniversary. Is it a naive Obama-era cringefest or an enduring piece of theater that still has much to say about American democracy? In an exclusive Slate Plus Bonus episode, Julia and Nadira grill Dan about the creation of Slate's newest game Pears and discuss the state of the internet game ecosystem.     Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Endorsements: Nadira: The new album BLACKSTAR by Ghanaian and American singer and songwriter Amaarae. Julia: Jurassic Park at the Hollywood Bowl accompanied by the LA Philharmonic. If not that, stream on a screen near you. Dan: Quitting your job. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Julia Turner is joined by guest hosts Nadira Goffe and Dan Kois to answer the urgent question: is The Naked Gun starring Liam Neeson and Pamela Anderson the vital satire we need for our time? (Answer: No, but does that matter? The joke-dense spoof reboot directed by Akiva Schaffer is a hoot.) Next, they turn to tropical shores and talk about Chief of War, the epic series about Hawaiian history starring and produced by Jason Momoa. Finally, the panel examines the legacy of the musical Hamilton on its ten-year anniversary. Is it a naive Obama-era cringefest or an enduring piece of theater that still has much to say about American democracy? In an exclusive Slate Plus Bonus episode, Julia and Nadira grill Dan about the creation of Slate's newest game Pears and discuss the state of the internet game ecosystem.     Email us your thoughts at culturefest@slate.com.  Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Endorsements: Nadira: The new album BLACKSTAR by Ghanaian and American singer and songwriter Amaarae. Julia: Jurassic Park at the Hollywood Bowl accompanied by the LA Philharmonic. If not that, stream on a screen near you. Dan: Quitting your job. Learn more about your ad choices. Visit megaphone.fm/adchoices

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. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Carlos Simon is a Grammy Nominated Classical composer with Gospel and Jazz Roots. He is the Composer-In-Residence of The John F. Kennedy Center For The Performing Arts; and the holder of the Inaugural Boston Symphony Orchestra Composer Chair. His works address themes including migration, belonging and community. His latest work is “Good News Mass” with the LA Philharmonic.My featured song is my version of Miles Davis's “All Blues” from the album Miles Behind. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Carlos Simon:https://www.carlossimonmusic.com—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Chasta & Huey recap the music news coming out of Coachella, including Benson Boone's performance with Queen guitarist Brian May and why the negative gatekeeping reaction from fans is a bad thing for the rock industry. Plus, Green Day and Charli XCX's social media feud and Dave Grohl performs with the LA Philharmonic. Lastly, on "Huey Help" they read a listener's email complaining that their boss thinks she is their therapist. Connect with Chasta & Huey: Linktree: https://linktr.ee/chastaandhuey YouTube: https://www.youtube.com/@ChastaAndHuey Spotify: https://open.spotify.com/show/2kdozplGAWNhd6zehEBzW5 Facebook: https://www.facebook.com/chastaandhuey Instagram: https://www.instagram.com/chastaandhuey Twitter: https://www.twitter.com/chastaandhuey Thank you for the support.See omnystudio.com/listener for privacy information.

Grammy-nominated multi-genre composer, curator, and activist Carlos Simon talks about his journey using music for social justice and his upcoming world premiere of the groundbreaking orchestral composition, Good News Mass, with the LA Philharmonic this week.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

Send us a textWhat happens when you finally experience the books, movies, and music everyone's been telling you to check out for years? Ryan and Daniel revisit four seasons of podcast conversations to reveal how "My Pop Five" has fundamentally changed their relationship with art and culture.The conversation begins with Daniel's newfound obsession with Robert Eggers' "Nosferatu" before pivoting to the heart of the episode: reflecting on cultural touchstones they might never have experienced without the podcast's recommendation format. Daniel shares how Devon's early episode featuring the band Brand New transformed his entire approach to music, while Ryan recounts how interviewing Juliana Zachariou deepened his appreciation for her artistry beyond fandom.The hosts trade stories of belated cultural education—Daniel's deep dive into David Lynch's filmography came heartbreakingly close to the director's passing, while Ryan finally binged the Harry Potter series after years of avoidance, culminating in watching the final film with the LA Philharmonic at the Hollywood Bowl. Their discussion of The Simpsons reveals how revisiting certain works uncovers layers of cultural influence previously invisible to them.Perhaps most touching is their exploration of how our relationship with art evolves as we age. Daniel describes rewatching The Iron Giant in a theater years later and being moved to tears by nuances his younger self couldn't appreciate. These moments of reconnection with art—seeing it through more experienced eyes—showcase how static works can yield entirely new meanings as our lives progress.As we stream into Season 4, join us for more conversations about the art and media that shape our lives, and the beautiful connections formed when we share what we love with the people around us. What recommendation have you been putting off that might change everything?Follow My Pop Five: @mypopfive on all platforms We'll see you next time. But until then, what's your Pop Five?

I first heard The National 17 years ago this month I think, and I fell in love instantly. They've continued to be one of my favourite bands, and it's been great to see them ascend to new heights of popularity and pursue interesting creative directions in the band and outside. Guitarist Aaron Dessner is now a key producer and co-writer for the likes of Taylor Swift and Gracie Abrams. His twin brother Bryce Dessner is a composer whose orchestral and chamber compositions have been commissioned by the LA Philharmonic, Edinburgh International Festival and Kronos Quartet amongst others, and he's collaborated with the likes of Philip Glass, Steve Reich, Paul Simon, Sufjan Stevens and many more. Frontman Matt Berninger has become one of the most compelling rock frontman of the 21st century with his often darkly funny, self-deprecating lyrics, and gangly, physical stage presence. Drummer Bryan Devendorf is one of the most distinctive drummers operating in rock today. Which leaves my guest this episode, bassist Scott Devendorf. I feel like Scott is the member of the band I knew least about. Obviously I've seen him onstage many times anchoring the band, but I was intrigued to see how the interview would go, and was pleased to discover Scott was excellent company. The National have just released a new live album entitled “Rome” which was recorded this past June in, well Rome obviously. It does a pretty good job of capturing the catharsis and sometimes chaos of a National show. I thought it was an interesting decision to focus on one particular show rather than compile tracks from across the tour. I was curious how they would handle the situations where Matt goes walkabout with the microphone, climbing into the crowd and getting mobbed with fans singing their heads off. Scott had a lot to say about these decisions, and about The National as a live act in general. He was really generous with his time. I only found out this interview was happening less than 24 hours before it took place, so it was quite a whirlwind getting it prepped and organised. I again had some technical issues so I've mostly just used the zoom feed but it sounds fine. To have The National represented on the podcast really means a lot. This will be the last episode of the year, and what a way to go out.

In Episode 368, Tulsa Kinney, artist and now former founding editor of Artillery magazine, talks about: Why she sold the magazine after running it for 18 years, including burnout but also how impersonal she feels the art world has become since its more modest size when the magazine began; the lack of support she/the magazine received from many galleries, while receiving support from institutions like the LA Philharmonic; the dual role she's had as an art magazine editor and as an artist, and seeing the art world from both perspectives; how it's been lovely being recognized (if not necessarily respected) when she walks into galleries; the pros and cons of running the magazine virtually, even though a print magazine; her highlights over the years running Artillery, including interviewing Mike Kelley, despite his writing an angry letter-to-the-editor for an unwanted call-out in the magazine's gossip column (she did offer him a magazine retraction for the bit, which helped get him do to the interview), and what a breath of fresh air Tulsa says he was in the art world; getting the last interview with Mike Kelley, and the pushback she got for having him on the magazine's cover when he took his life, as well as the lack of interest from the art world (including the Mike Kelley Foundation) in that interview as historical material

A 1.3 mile stretch of Crenshaw Boulevard is supposed to be a future hub of Black arts and culture in LA. Residents are torn over what it’ll do to the neighborhood’s legacy and future.  On Tuesday, President-elect Trump made good on a campaign promise to appoint Elon Musk head of what’ll be known as the Department of Government Efficiency — or “DOGE.”  California’s 2024 election results show a political shift to the right. Support for President-elect Trump has risen since 2020, and voters have approved tough-on-crime measures Artist Doug Aitken’s new project “Lightscape” is a collaboration with the LA Philharmonic and LA Master Chorale that weaves music and film to create an ethereal and visual soundscape.

Website: https://thefuriousbongos.com/ US/CA/EU Booking, Music Director, general info Conrad St. Clair thefuriousbongos [at] gmail.com / +1 608-220-1963 EU/UK Booking Chris Huntington / Head On Entertainment headonent [at] gmail.com / +1 410-903-8634 Management Tommy Wilson tommyhawkwilson [at] gmail.com / +1 718-473-256 We're only in it for the money. HAHAHAHA OK, OK...we're just a bunch of professional musicians with pretty diverse backgrounds who decided to take on a pretty big challenge and have some fun in the process.  Now, you might ask, “Oh yeah? Professional musicians, eh? What makes you think you can play Frank's music as well as [insert Zappa family/band member here]?” Well, maybe you haven't heard of us individually, but  "we're pretty good musicians"  and you probably have heard of the folks on our resumes:  BB King, Mick Fleetwood, Vinnie Colaiuta, Googoosh, Dweezil Zappa, LA Philharmonic, Arthur Barrow, Munich Philharmonic, Bryan Beller, Popa Chubby, Yo Yo Ma, Limelight: A Tribute To Rush, Pinetop Perkins, Chicago Lyric Opera, Madison Opera, blah blah blah....you get the idea. As for Frank's music, he was constantly changing things, both for his own creative choices and to adapt to the different musicians he had over the years. He also understood that his live performances were entertainment: it's supposed to be a rock show, not a piano recital. With all that in mind, we don't think playing Song X from Album Y note-for-note while staring at our shoes is the proper way to go about this. The result of that approach (combined with a lot of homework) is a show that pays respect to Zappa's legacy, but is also new and different and dangerous and FUN, with lots of eyebrows. Kinda like Frank.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/message Support this podcast: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/support

Live recording from an AMA (Ask Me Anything) Panel Discussion on April 3, 2024. The panelists of the sessions were:

Former State health director, past CEO of health services at LSU, and OB-GYN Dr. Rebekah Gee is now working to bridge the gap in healthcare for Louisiana's underserved families. Her new start-up, Nest Health, focuses on bringing comprehensive healthcare directly to families with at-home and virtual visits.She joins us for more on this program and how she hopes to see it expand across the state.The Grammy-award winning Louisiana Philharmonic Orchestra (LPO) is gearing up for its inaugural Juneteenth concert. The event will honor the holiday that celebrates the liberation from slavery with Black musical traditions.LPO Executive Director Anwar Nasir joins us for more on this concert, called Music of a Movement: A Symphony Anthology at the Mahalia Jackson Theater.The Gulf South is full of rich stories of resilience and survival. But in rural towns, these can be lost to time, especially for marginalized communities. The Gulf States Newsroom's Maya Miller traveled to coastal Alabama to meet a family with centuries of history in the region. She explored the land with a man who's spent more than 15 years uncovering his native and formerly-enslaved heritage. ___Today's episode of Louisiana Considered was hosted by Diane Mack. Our managing producer is Alana Schreiber. Matt Bloom and Aubry Procell are assistant producers. Our engineer is Garrett Pittman.You can listen to Louisiana Considered Monday through Friday at 12 and 7 p.m. It's available on Spotify, Google Play and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Karen Zorn, President of the Longy School of Music of Bard College, shares her journey as a classically trained pianist and her passion for creating a mindset shift in the classical music world. She discusses the importance of improvisation, embracing change, and encouraging individuality in music education. Karen also emphasizes the need for inclusivity and audience engagement in classical music performances. She reflects on her challenges in implementing her vision and the pushback she received. Despite the obstacles, Karen remains committed to preparing musicians to make a difference in the world.She emphasizes the importance of telling your story and reframing narratives to avoid getting caught up in debates. Karen also discusses the partnership between Longy and the LA Philharmonic and its impact on validating the changes Longy was making. She highlights the next chapter for Longy, focusing on music as a healing art and the potential for musicians to make a difference in healthcare settings. Karen defines leadership as striving for better or change and valuing relationships and diversity of opinion.TakeawaysEncourage individuality and artistic voice in music education.Embrace change and innovation in the classical music world.Create inclusive and welcoming concert experiences for all audiences.Apply human-centred design principles to music education. Tell your story and focus on your own narrative instead of getting caught up in debates and criticism.Reframe narratives to avoid being pulled into arguments and to maintain authenticity.Partnerships with organizations that share your values can provide validation and open doors to new opportunities.Music has the power to heal and can be utilized in healthcare settings to improve well-being and reduce stress.Leadership involves striving for better or change, valuing relationships, and embracing diversity of opinion.Connect with Karen Zorn Longy School of Music of Bard CollegeConnect with MeWebsiteYoutubeInstagramLinkedInEmail: hello@mindsetshift.co.uk

SPECIAL CLIENT LAUNCH EPISODE! Big Idea To Bestseller client and bestselling author, Teena Hostovich joins Jake to celebrate the launch of her new, bestselling book Welcome To The Jungle. Dive deep into the world of success as Teena shares the secrets that catapulted her to bestseller status in not just one, but six categories within the launch week. Gain profound insights into the strategies that fueled this incredible achievement, offering a roadmap for aspiring authors and entrepreneurs.One of the highlights of this episode is the behind-the-scenes story of how Teena secured an endorsement from none other than Hillary Clinton. Delve into the intricacies of this strategic move, understanding the art of connecting with influential figures and leveraging their support.Teena opens up about how her book became a powerful tool, not just for literary success but as a catalyst for securing speaking engagements at prestigious events, including appearances at USC and other notable venues.Get ready for a captivating narrative of triumph, strategy, and the convergence of corporate life with creative pursuits!What You'll LearnThe secret to Teena becoming a bestseller in 6 categories on launch weekHow to find your purpose in your careerWhy Teena decided to write her book as an executive of a billion dollar corporationHow she got Hillary Clinton to endorse her bookHow she used her book to get speaking gigs at USC and other prestigious eventsAbout TeenaTeena Hostovich is the Vice Chair, Pacific, of Lockton Insurance, based in Los Angeles. She has combined her lifelong passion for the arts, history, and education with her corporate responsibilities, political activism, and philanthropic work. She is a member of the Clinton Global Initiative and the White House Historical Association. President Biden recently appointed her to the President's Advisory Committee for the Arts, and she is the Co-Chair of the Advisory Council to the Kennedy Center's President and Chairman. She is on the boards of the LA Philharmonic, the USC Marshall School of Business (her alma mater), the University of Redlands, the National Advisory Council for the American Film Institute, and an advisor for the Women's Studies Programs at Oxford University and UVA. In 2022, she was on the Steering Committee for Prop 28 Vote Arts and Music in California Schools which passed overwhelmingly and now provides funding for arts education to all California public school children.Teena lives in La Canada, CA, with her husband, Doug Martinet. Her son, Michael Martinet, is at USC.Connect with TeenaBuy Teena's Bestselling Book, Welcome To The Jungle - http://teenahostovich.com/bookConnect with JakeText FREE to 661-669-7363 for a free copy of Jake's Bestselling Book, Big Idea To Bestseller Follow Jake: @jakekelferSubscribe to Jake's YouTube Channel - @jake_kelfer Get Instant Access To Jake's Free Training: How To Write And Launch A Bestselling Book In 1 Hour A Day

Putting on a new record can feel like an instant sonic vacation for your mind - or maybe it's the best type of time travel? This week we take a trip to the teaming clubs of Bogotá and Cali Colombia (or shall we say, Colombia came to a movie studio conference room here in LA) to talk to multi-lingual lead singer Catalina García who for the last fourteen years has led adored jazzy roots-pop icons Monsieur Periné along with master instrumentalist Santiago Prieto.  It's heady times for the band: their newest LP Bolero Apocalíptico was just crowned best alternative music album at the Latin Grammys and I was able to catch up with Catalina the night before her performance at Disney Hall with the LA Philharmonic and Gustavo Dudamel. While her infectious laugh and the band's often nostalgic and cheerful sounds may lean one way - listen closer and the new LP dives into some serious subjects that hit close to home for Catalina - like the desperation of climate change, government sponsored violence and poverty.  Harnessing her love of cumbia, swing, bossa nova, and folk styles from across Latin American, Catalina  sings in Spanish, French, Portuguese and English depending on the mood and with her work in Monsieur Periné, she's been able to collaborate with some of the brightest lights in Latin music such as Ana Tijoux, Vanesa Martin, Vicente Garcia and more. Take a listen to “Cumbia Valiante” featuring Tijoux which touches on the massive protests against corruption that she and her family have participated in in her native Colombia.  While the world was shut down over the pandemic - an unexpected surprise happened for the band. An older jazzy song of theirs "Nuestra Canción” (a fan favorite) from their 2015 record Caja De Música somehow became a Tik-Tok sensation, rising to the top of the music chart and was then streamed over 150 million times. If you're in a bad mood? Put that one on ASAP.  Indeed, the group rarely comes to California - but when asked about her favorite all time show - Garcia mentions playing at sunset at the Santa Monica pier many years before. Truly the amount of travel she and her bandmates have undertaken across three continents is staggering - and there are many more stories to come. 

Wrestling entrance songs, NDAs, time is an illusion / social construct / flat circle, the bar scene, boys and girls' bikes, mermaid statue, drugs shipped to restaurant, $120K banana, penis surgery gone wrong, orgasm heard at LA Philharmonic concert, fish semen on the sushi menu, Betty at 92's male striptease show, all-you-can eat cookie cafe, beautiful women on apartment visits, JP government seeks power to control AC remotely Double X Quantimino Wrestling entrance songs - Brian: Let's Get Reptarded, Art: The War, GMN: Hero, Burrito: Simon Says Reality show NDA Entrance songs but only from James Bond movies Time is an illusion and a social construct Time is a flat circle A homunculus amunculus The bar scene Boys and girls' bikes This Is The Newz Mermaid statue causes stir in southern Italy Man arrested after $3M worth of drugs shipped to restaurant Banana drama: ‘hungry' South Korean student eats $120,000 artwork Man dies after penis enhancement surgery goes wrong Woman's ‘loud and full body orgasm' heard during LA Philharmonic concert Michelin star chef inspired to add ‘fish semen' to the menu at high-end restaurant Care home resident fulfills dream of watching male striptease show at 92 Burrito's Nippon Newz Reminder: Japan has awesome all-you-can-eat cookies cafés Tokyo real estate agency sends beautiful women with you on apartment visits for date-like mood Japanese government seeking power to turn down private home air conditioners remotely Deepfake Sponsors: Julio Tejas, Booba Gettz The Crazy One, Thicccum Farmz Slam City Radio 24/7 x https://slamcity.co/scr247/

The U.S. poverty rate jumped to more than 12% as COVID programs helping with food, rent, and unemployment ended. Now food banks are seeing higher demand. Despite a slim GOP majority and looming government shutdown, House Speaker Kevin McCarthy launched an impeachment inquiry into President Biden. In the PBS show “America Outdoors,” journalist and comedian Baratunde Thurston takes viewers on nature adventures and engages locals in conversations.  Jacob Collier makes his Hollywood Bowl debut on September 13 with the LA Philharmonic. He talks to KCRW about the performance and his musical roots.

When the King of Prussia requested Bach's presence for a visit, Bach probably expected to be asked to improvise some complex music on the king's prototype fortepiano.  But did he expect the king to give him such a twisty, chromatic theme?  And, after he played an extemporaneous 3-part fugue successfully, was it then even more unfair for the king to ask for a 6-part fugue immediately following that?  And, most intriguing to us, was it actually Bach's son who convinced the king to spring this "trap" on Bach, as theorized by Arnold Schoenberg? Today we dive deeper into the Musical Offering, and take a suggestion from listener Darcy, looking at a fairly jazzy few seconds of Bach.  Playlist of the entire Musical Offering, performed by the Netherlands Bach Society Or, go straight to the Ricercar a 3. Ricercar a 6, orchestrated by Anton Webern (as mentioned in this episode), with scrolling score, performed by the LA Philharmonic  

SynopsisConsider, if you will, the poor timpanist. At most symphony concerts, they sit quietly—waiting for the moment when a dramatic exclamation point is required from the kettledrums. While the violinists rarely get a break, the timpanist must sit patiently for most of the evening, biding their time, waiting for the precise moments to strike.On rare occasions, however, the timpanist is the CENTER of attention as soloist in a timpani concerto. One such concerto was written by an American composer, William Kraft, who was born on this day in 1923. Kraft was a timpanist himself. In fact, Kraft served as a percussionist and timpanist with the Los Angeles Philharmonic for 26 years, from 1955-1981. He was that orchestra's first composer-in-residence, and founded the LA Philharmonic's first New Music Group.William Kraft's Timpani Concerto was written in 1983 for timpanist Thomas Akins of the Indianapolis Symphony, who premiered the work with that orchestra in 1984.Kraft's own description of his Timpani Concerto is as follows, "The first movement is very jazzy … the second movement is very beautiful, with two string orchestras and a lot of glissandi, and the third is hell-bent for leather."Music Played in Today's ProgramWilliam Kraft (b. 1923) Timpani Concerto Thomas Akins, timpani; Alabama Symphony; Paul Polivnick, cond. Albany 302

Hello? Can you hear us? This week, Nicole and Sasheer discuss enjoying ass-mer (asmr), mixed feelings on showing your underwear, an orgasmic experience at the LA philharmonic, what they enjoyed about Black Forever… wait actually Wakanda Forever, Nicole's vision for the future of malls, the new trash cans on Sasheer's block, and more. We play another round of “Zillow For A Dillow,” and answer a listener question about getting your straight male friends to open up.  Here is the LA Philharmonic audio - https://twitter.com/wiife_material/status/1652730918333739008?s=20 Zillow For a Dillow:House #1 - https://www.zillow.com/homedetails/2171-Moody-Rd-N-Odessa-WA-99159/2057908345_zpid/?utm_campaign=zillowgonewild&utm_medium=zillowgonewild&utm_source=zillowgonewildHouse #2 - https://www.zillow.com/homedetails/1985-Tunnel-Rd-Berkeley-CA-94705/24820805_zpid/?utm_source=zillowgonewild&utm_medium=zillowgonewild&utm_campaign=zillowgonewild Email or call Nicole & Sasheer with your friendship questions/ “Is this weird” suggestion at:424-645-7003nicoleandsasheer@gmail.com

Francesca Fiorentini joins Kurt and Scotty to talk about a stolen Colorado tiny house that was found in Kansas, a woman who had an orgasm at an LA Philharmonic concert, hundreds of pounds of pasta dumped in New Jersey and an insect lover who invented a device that allows him to kiss bugs!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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In this part we talk kid throwin boulders into cars get arrested, ATL duo does Gods work by unlocking boots off cars, woman really digs the LA Philharmonic, Sport announcer says the n-word, Jenny Craig closes its doors, Vice may be going under, principal gets scared by bear, high school teacher tries to break up fight and gets knocked out, Mcdonalds uses 10yr old child labor, hotel guest wakes up to night manager sucking on his toes, white folk / black folk crazy news, and much more! Check us out Facebook here: https://www.facebook.com/TokyoBlackHour/   Check out the Youtube Channel here: https://www.youtube.com/channel/UCX_C1Txvh93PHEsnA-qOp6g?view_as=subscriber Follow us on Twitter @TokyoBlackPod Get your apparel at https://tkbpandashop.com/  You can also catch us Apple Podcasts, Google Play, and Spotify Check out Every Saturday Morning here https://www.everysaturdaymorning.fun Check out The Basic Caucasian Podcast here https://www.youtube.com/user/dgriffin156

It's a UK Hun, I mean, BANG! Myf is in Liverpool in the thick of Eurovision 2023 and has the kind of access we've come to know and love. Come for the gossip, stay for Croatia's entry. We take the temperature on the ground and online after the King's Coronation. That was weird. In more exciting news, an attendee at the LA Philharmonic is having a euphoric time out and about. The Rock n Roll Hall of Fame inductees have been announced and there are some legends in the list, while Dolly Parton has made good on her promise from the ceremony last year and gone and made a whole rock album. And we're banging on about the new TV series Lucky Hank, and Elvis (the movie). Show notes: Eurovision 2023: https://www.sbs.com.au/programs/eurovision Penny Mordaunt: https://twitter.com/richardmorrisuk/status/1654809276794167299?s=20 Why are the Windsors and the Roys so unhappy? https://www.theguardian.com/commentisfree/2023/may/08/nepo-babies-have-never-been-bigger-so-why-are-the-windsors-and-the-roys-so-unhappy Woman orgasms at concert: https://nypost.com/2023/05/01/woman-has-full-body-orgasm-during-la-philharmonic-concert/ Rock n Roll Hall of Fame inductees: https://variety.com/2023/music/news/rock-roll-hall-fame-willie-nelson-kate-bush-missy-elliott-sheryl-crow-rage-inductees-1235602078/ Dolly Parton's rock album: https://pitchfork.com/news/dolly-parton-announces-new-rock-album-featuring-paul-mccartney-ringo-starr-lizzo-miley-cyrus/ Lucky Hank: https://www.youtube.com/watch?v=OY4jhr4_PF0&ab_channel=amc%2B Elvis: https://www.youtube.com/watch?v=wBDLRvjHVOY&ab_channel=WarnerBros.Pictures Bang Back to us: bangon.podcast@abc.net.au Bang On is an ABC podcast, produced by Double J. It is recorded on the lands of the Wurundjeri people of the Kulin nation. We pay our respects to elders past and present. We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the land where we live, work, and learn.

It's a UK Hun, I mean, BANG! Myf is in Liverpool in the thick of Eurovision 2023 and has the kind of access we've come to know and love. Come for the gossip, stay for Croatia's entry. We take the temperature on the ground and online after the King's Coronation. That was weird. In more exciting news, an attendee at the LA Philharmonic is having a euphoric time out and about. The Rock n Roll Hall of Fame inductees have been announced and there are some legends in the list, while Dolly Parton has made good on her promise from the ceremony last year and gone and made a whole rock album. And we're banging on about the new TV series Lucky Hank, and Elvis (the movie). Show notes: Eurovision 2023: https://www.sbs.com.au/programs/eurovision Penny Mordaunt: https://twitter.com/richardmorrisuk/status/1654809276794167299?s=20 Why are the Windsors and the Roys so unhappy? https://www.theguardian.com/commentisfree/2023/may/08/nepo-babies-have-never-been-bigger-so-why-are-the-windsors-and-the-roys-so-unhappy Woman orgasms at concert: https://nypost.com/2023/05/01/woman-has-full-body-orgasm-during-la-philharmonic-concert/ Rock n Roll Hall of Fame inductees: https://variety.com/2023/music/news/rock-roll-hall-fame-willie-nelson-kate-bush-missy-elliott-sheryl-crow-rage-inductees-1235602078/ Dolly Parton's rock album: https://pitchfork.com/news/dolly-parton-announces-new-rock-album-featuring-paul-mccartney-ringo-starr-lizzo-miley-cyrus/ Lucky Hank: https://www.youtube.com/watch?v=OY4jhr4_PF0&ab_channel=amc%2B Elvis: https://www.youtube.com/watch?v=wBDLRvjHVOY&ab_channel=WarnerBros.Pictures Bang Back to us: bangon.podcast@abc.net.au Bang On is an ABC podcast, produced by Double J. It is recorded on the lands of the Wurundjeri people of the Kulin nation. We pay our respects to elders past and present. We acknowledge Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of the land where we live, work, and learn.

This week is full of information that makes you think “What the actual fuck?!”... From well-timed farts at shows, to Fall Out Boy's very weird, very gimmicky, very limited vinyl pressing, to orgasms at shows… this is going to be an interesting episode. Also, the last 10 minutes or so, are John and Tyler reminiscing about farting experiences and grade school. Sorry.Support the showSign-up for our weekly newsletter!https://allpunkedup.com/subscribe Are you a fan of the scene and want to be a guest on the pod? Fill out the form:https://allpunkedup.com/callthepodPlease consider rating and reviewing this podcast. A solid rating can really help us reach more listeners just like you. As always, thanks for listening!

It's a contentious episode, as the boys disagree over whether the killing of Jordan Neely on the NYC Subway was justified or not. We get on the waiting list for Bluesky, Vermont now allows non-residents to off themselves, and a Washington teen fatally injured himself during gym class. A woman REALLY enjoyed the LA Philharmonic, a Minnesota lawmaker was shirtless on a Zoom meeting, and Barstool Sports is now a victim of cancel culture! Alex Murdaugh admitted another lie, we discuss the disturbing story of Jesse McFadden, and the WGA is on strike. All this and we tell you what we're watching too!

Welcome to the first episode of The PCL Podcast with your hosts, Kyle and Jake! In this episode, we have a very special guest, Erika Hauesseler, who created the stunning artwork for our latest single "PCL Bar." We chat with Erika about her experience creating the artwork and delve into the world of AI art.Kyle and Jake discuss a viral video of a woman having an orgasm during a performance by the LA Philharmonic. It's definitely an interesting topic and we have a lot to say about it!Later, we announce our best pop punk band tournament bracket, which is currently happening on our Instagram. We also feature a voice message from a friend regarding this bracket, which we received through our Speakpipe. You can leave us a message here: speakpipe.com/pclDon't forget to check out our music links, including our presave link for our latest single "Say I Want You," which will be available everywhere on May 5th, 2023.Check out our website for music, merchandise, news, and more www.pclbandca.com.Support this show and our music for just $5 a month at www.pclbandca.com/bonus-content There you'll find a bonus episode from this podcast along with unreleased music, exclusive merch, and behind the scenes looks into our production process.PCL BAR: Key Lime Pie Shot* 1oz Absolut Vanilla Vodka* 1oz Lime Juice* 1oz Simple SyrupLinks:* Apple Music: https://music.apple.com/us/artist/pcl/1505075318* Spotify: https://open.spotify.com/artist/3ogFqZUglAfehdG7ARSvN3?si=KtYylFzuTHGbz-q3HDBIig* Website: www.pclbandca.com* Leave us a voice message: speakpipe.com/pcl* YouTube: https://www.youtube.com/ @pclband * Podcast Streaming: https://podcasts.apple.com/us/podcast/the-pcl-podcast/id1591266821* Bonus Content Link: www.pclbandca.com/bonus-content* Pre-save Say I Want You: https://distrokid.com/hyperfollow/pcl/say-i-want-you* Instagram: https://www.instagram.com/pcl_ca/?hl=en* TikTok: https://www.tiktok.com/@pcl_ca

Brian and Ed talk about the Met Gala, Sisu, Groat's Syndrome, woke mind virus, John Mulaney, coma cop and:RIP Dick Groat - Curb Your Enthusiasm groats disease was named after Dick GroatTown forces argumentative parents to be umpires at little league games - https://www.goodmorningamerica.com/living/story/town-forces-argumentative-parents-umpires-league-games-98810329ABC used pre-9/11 footage of New York for Heat-Knicks halftime report - https://ftw.usatoday.com/lists/abc-espn-world-trade-center-twin-towers-footage-heat-knicks-halftime-reactionESPN fired MLB reporter for calling fellow reporter a "fucking cunt" - https://www.tmz.com/2023/04/27/ex-espn-reporter-marly-riveras-f-ing-c-diss-captured-on-video-aaron-judge/An independent wrestler named Masada set himself on fire and suffered significant burn injuries - https://www.tmz.com/2023/04/28/wrestler-sets-himself-on-fire-in-deathmatch-event-suffers-significant-burns/RIP Jerry Springer - Rev. Bud Green lights up on Jerry SpringerWoman has a loud and full-body orgasm as LA Philharmonic played Tchaikovsky - https://uproxx.com/music/woman-orgasm-la-philharmonic-tchaikovsky-performance/British man captured a seagull and masturbated over it as he watched porn - https://www.lbc.co.uk/news/man-captured-seagull-masturbated-sunderland/NYC community board meeting hijacked by masturbating hacker - https://nypost.com/2023/04/26/nyc-community-board-meeting-hijacked-by-masturbating-hacker/Meghan Trainor says she "can't walk" after "painful" sex with "big boy" husband Daryl Sabara - https://people.com/music/meghan-trainor-details-painful-sex-with-big-boy-husband-daryl-sabara/James Corden ends his CBS show - https://www.thedailybeast.com/james-corden-exits-the-late-late-show-denouncing-divisivenessSerial sperm donor with more than 600 kids banned from continuing to donate - https://www.news.com.au/lifestyle/real-life/news-life/serial-sperm-donor-banned-from-continuing-to-donate/news-story/09fc4e71402df2c51641ea0877eef18aMatthew Lawrence says Oscar-winning director asked him to strip in exchange for Marvel role - https://sports.yahoo.com/matthew-lawrence-says-oscar-winning-170323973.htmlWoman dubbed "killer clown" accused of showing up in costume to kill purported lover's wife, pleads guilty - https://www.nbcnews.com/news/us-news/florida-woman-pleads-guilty-killer-clown-case-decades-love-triangle-sh-rcna81488Celebrity cruises kept a passenger's dead body in a drinks cooler for 6 days and let it rot, lawsuit alleges - https://www.insider.com/celebrity-cruises-equinox-corpse-drinks-cooler-decompose-days-lawsuit-2023-4 *a comedy podcast about sports, pop culture, movies and dicks*Support this podcast at — https://redcircle.com/the-baller-lifestyle-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Kris Adler comes on the show to talk about the Writers Guild of America going on strike today. An update on the woman who supposedly had an orgasm at the LA Philharmonic concert the other day. What is “trans-ableism”?  See omnystudio.com/listener for privacy information.

The Writers Guild of America is on strike. What that means and how it affects us today. The LA Philharmonic orchestra played Tchaikovsky Symphony No 5 Movement 2 and a woman in the audience was putting on a show too! OMG. A fun game of Would You Rather and MET Gala fashion hits and misses! Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Writers Guild of America is on strike. What that means and how it affects us today. The LA Philharmonic orchestra played Tchaikovsky Symphony No 5 Movement 2 and a woman in the audience was putting on a show too! OMG. A fun game of Would You Rather and MET Gala fashion hits and misses! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this edition of Full Body OrgasTrend, Jack and Miles discuss a woman's outburst during an LA Philharmonic concert, the 'Godfather of A.I.' leaving Google, the Writer's Guild strike, the weirdest items passengers leave behind in Uber, MORE luxury trips accepted by the Supreme Court, and Jeffrey Epstein's many meetings with high-level government officials!See omnystudio.com/listener for privacy information.

Hawk shares a story about a very excited concertgoer, Cory has Headlines

Matt Schrap comes on the show to talk about CARB wanting to go with zero emission fleet vehicles. The NY Times has finally weighed in on the Whole Foods market closing in the San Francisco area. More on convenience stores and grocery stores having to lock up items to combat shoplifting. A woman had a loud orgasm in the middle of the LA Philharmonic's performance over the weekend.See omnystudio.com/listener for privacy information.

KFI's Kris Adler has the lates on the Writers Guild Strike. Former LA Dodgers owner Frank McCourt is hoping that the Dodger Stadium gondola project will become a reality soon. A popular social media influencer, Katie Sorenson, who falsely accused a couple of trying to kidnap her children has been convicted of lying. During the LA Philharmonic, an attendee let out a ‘loud full body orgasm' during Tchaikovsky's 5th symphony.

Sean tells Priyanka about how he drew inspiration from the LA Philharmonic for his role in Goodnight, Oscar. Priyanka reminds Sean of the importance of taking a break. Brian D'Arcy James joins the show! He discusses his new Off-Broadway musical and the terrible time he had kidney stones.

Lili Haydn contributed score to seasons 2 & 3 of the Emmy winning Amazon series Transparent; as well as the films ANITA, The House That Jack Built, DriverX, Broken Kingdom and Oscar winner Freida Mock's documentary RUTH: Justice Ginsburg in Her Own Words, and Oscar nominee Michele Ohayon's Netflix documentary Strip Down Rise Up Hear what it was like to be the child of oddball Hollywood luminaries David Jove & Lotus Weinstock, and how she now suspects her father wasn't only a Hollywood dealer with a penchant for guns. From composing with Hans Zimmer, to touring with Robert Plant and Jimmy Page, being booed at Madison Square Gardens, recording critically acclaimed major label albums as a solo artist to collaborating with artists including Herbie Hancock, Sting, the LA Philharmonic, and George Clinton's P-Funk All Stars we talk about it all. Listen up and you'll hear why George Clinton called her "the Jimi Hendrix of the violin." Please help Lili's song, supporting Iranian women, to reach more people by streaming "Woman Life Freedom" after you listen to her conversation with us. Lili Haydn Website IMDB IG Facebook YouTube Vimeo Spotify Soundcloud Opium Moon Composing Reel The Sync Report is where you will meet industry experts and top level songwriters as we pull the curtain back on music placement and scores, build vital relationships and provide real opportunities to our listeners. Listen to indie filmmakers present their latest productions and describe specific scenes as they consider music submitted by our audience. Music. Music is the difference between a good film and a great one. Songs included in this episode are... The Love I have For You Ain't Like it used to Be Here is the Rose Lion Style Amy PSO Performance Marriage is a Dungeon – Lili Haydn & Ben Rumfield Kashmir I am a Man Woman Life Freedom Rosie's Theme All songs by Lili Haydn except where stated. SYNC SESSION FEATURING:  Milfredo Seven - Kevin Sharpley - Vinx De'Jon Parrette - Jodylynn Talevi – Lisa Dunn - Heather Ragnars - Gray Bashew - Jhonny Szpekman - Carla Songs "Naked on the Serengheti" by Vinx "Down the Road" by Gray Bashew, Daphne Tse, Amelie Saint Louie and Behnoush Daneshtalab "Broken and Blessed" by Lisa Dunn and Nicolai Siebers "It's Not the Same" by Jhonny Szpekman, Heather Ragnars and Carla Please tell your friends about us, and remember to rate, comment, & subscribe to us on Apple Podcasts and across all platforms.  And find us at The Sync Report here TSR Website  Facebook  Instagram Twitter Youtube Linkedin Tik Tok  Hosted By: Colin O'Donoghue - Rose Ganguzza - Jason P. Rothberg – Kevin Sharpley Featuring: Paula Flack and Willow Produced By: JASON P ROTHBERG - PAULA FLACK - ROBERT CAPPADONA Executive Producers: COLIN O'DONOGHUE - ROSE GANGUZZA - JASON P ROTHBERG - KEVIN SHARPLEY - GIANFRANCO BIANCHI - DEAN LYON Co-Executive Producers – PAULA FLACK – LISA DUNN – ROBERT CAPPADONA Writers: JASON P ROTHBERG - LISA DUNN - PAULA FLACK Editors: JASON P ROTHBERG - MILFREDO SEVEN - PAULA FLACK EDGAR “EDGE” CAMEY - ADAM MCNAMARA Marketing Director: PAULA FLACK Music Supervisors: PHILL MASON Music Department: Heather Ragnars -Lisa Dunn Foley: PHILL MASON Research: LISA DUNN Art Director: GIANFRANCO BIANCHI Graphic Design: JODYLYNN TALEVI College Programs: DR STACY MONTGOMERY College interns: Angela Nicastro - Princess Arga – Stephanie Shafir

Whether you're an aspiring artist, musician, or simply searching for a new job, this episode is for you. We're joined by Mars Gelfo, an artistic actualization ninja who coaches people to unleash the artistic spirit that lives within all of us. Mars shares his journey as a French Horn player who made it as the top 2 finalist for an audition to join the LA Philharmonic, only to be bitterly disappointed with the outcome. It was during this dark period that he found his spark. Listen as Mars shares practical actions as well as some juicier methods from tantra practices you can take to release stuck traumas, fears, and criticisms to reignite your spark. He also shares the importance of assuming the identity of who you want to become and and teaches us how to use the ping test to help figure out our purpose. If you're looking to overcome your fears, reignite your spark, and live out your purpose, then sit back, relax, and enjoy this fascinating interview with Mars Gelfo, the artistic actualization ninja. And make sure to stay tuned till the end to hear Mars play a purpose living prayer with his French horn, exclusively for this podcast. --- Mars Gelfo website Caroline Myss' 72 archetypes --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/aworkinpurpose/support

Synopsis On today's date in 1948, Leonard Bernstein, age 29, conducted the Boston Symphony in the premiere of a new orchestral work by Harold Shapero, age 27. This was Shapero's “Symphony for Classical Orchestra,” a work modeled on Beethoven but sounding very much like one of the Neo-Classical scores of Igor Stravinsky. This was exactly what Shapero intended, but some found the music perplexing. Aaron Copland, for one, wrote: “Harold Shapero, it is safe to say, is at the same time the most gifted and baffling composer of his generation.” That comment by Copland, one should remember, came at a time when Shapero's generation included the likes of Barber, Bernstein, Menotti and Rorem. But Copland continued, “Stylistically, Shapero seems to feel a compulsion to fashion his music after some great model. He seems to be suffering from a hero-worship complex – or perhaps it is a freakish attack of false modesty.” “Copland was so original,” Shapero responded, “that he just couldn't understand anyone who wasn't.” Even so, Shapero's superbly crafted orchestral imitations suffered many decades of neglect. In the 1980s, however, conductor and composer Andre Previn fell in love with Shapero's Symphony, performing and recording it with the LA Philharmonic, and declared its Adagietto movement the most beautiful slow movement of any American symphony. Music Played in Today's Program Harold Shapero (b. 1920) Symphony for Classical Orchestra Los Angeles Philharmonic; André Previn, conductor New World 373 On This Day Births 1697 - German composer and flutist Johann Joachim Quantz, in Oberscheden, Hannover; 1861 - French-born American composer Charles Martin Loeffler, in Alsace; 1862 - German-born American composer and conductor, Walter Damrosch, in Breslau; Deaths 1963 - French composer Francis Poulenc, age 64, in Paris; Premieres 1724 - Bach: Sacred Cantata No. 81 ("Jesus schläft, was soll ich hoffen?") performed on the 4th Sunday after Epiphany as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1735 - Bach: Sacred Cantata No. 14 ("Wär Gott nicht mit uns diese Zeit") performed in Leipzig on the 4th Sunday after Epiphany; 1892 - Rachmaninoff: “Trio élégiaque” No. 1 in G minor (Gregorian date: Feb. 11); 1893 - Brahms: Fantasies for piano Nos. 1-3, from Op. 117 and Intermezzo No. 2, from Op. 117, in Vienna; 1917 - Zemlinsky: opera "A Floretine Tragedy," in Stuttgart at the Hoftheater; 1920 - Frederick Converse: Symphony in c, by the Boston Symphony, Pierre Monteux conducting; 1942 - Copland: Orchestral Suite from "Billy the Kid" ballet, by the Boston Symphony; 1948 - Harold Shapero: "Symphony for Classical Orchestra," by the Boston Symphony conducted by Leonard Bernstein; 1958 - Walton: "Partita" for orchestra, in Cleveland; 1959 - Hindemith: "Pittsburgh Symphony," by the Pittsburgh Symphony, conducted by the composer; 1970 - William Schuman: "In Praise of Shahn," in New York; 1985 - Libby Larsen: Symphony ("Water Music"), by the Minnesota Orchestra, Sir Neville Marriner conducting. Links and Resources On Harold Shapero

Scotty Morris his band Big Bad Voodoo Daddy has sold over 4 million records worldwide!  Big Bad Voodoo Daddy has performed for three of the last four US Presidents including saxophonist and music fan Bill Clinton. In 1999 Big Bad Voodoo Daddy's hometown of Ventura California recognized the band as "a local musical treasure" and presented its members with the Key to the City. Big Bad Voodoo Daddy has performed more than 3600 shows over 22 years with a streak of 260 consecutive sold out concerts and won the 1998 Pollstar Awards "Club Tour Of The Year" award. Big Bad Voodoo Daddy was the house band and a featured performer at the seventh ESPY Awards at Radio City Music Hall in New York City hosted by Samuel L. Jackson. The band returned the following year at the eighth ESPYs at the MGM Grand in Las Vegas. Big Bad Voodoo Daddy performed with Stevie Wonder, Gloria Estafan, and Savion Glover at the Superbowl XXXIII Halftime Show in Miami. Big Bad Voodoo Daddy has had the honor of performing with the 36 symphony orchestras across the US such as The LA Philharmonic and National Symphony Orchestra at the Kennedy center Learn more about your ad choices. Visit megaphone.fm/adchoices

Roger Neill, Composer, joins Susan and Ben to discuss Darby and the Dead, a 2022 comedy fantasy. Roger shares what it's like having an Emmy and Golden Globe-winning career composing music for television, movies, and video games. He discusses writing music for King of the Hill, how crafting music changes based on the content, performing at the Hollywood Bowl with Air and the LA Philharmonic, and being a member of the Academy for Motion Picture Arts and Sciences. He also provides behind the scenes insight into composing the music for Darby and the Dead. Roger plays our “Break That Fourth Wall” game. Follow Roger on Instagram @rwneill, rogerneill.com, on IMDB. Darby and the Dead is streaming now on Hulu. Find out more about Sam Now at samnowmovie.com. Leave a rating and review on Apple Podcasts to help us reach more listeners. Find out about our guests and upcoming events by following us at Facebook, Twitter, or Instagram, contribute to our Patreon, or shop at lifeinthecredits.com. Life in Our Credits Hosts: Susan Swarner and Ben Blohm Executive Producer: Michelle Levin Logo Art: Melissa Durkin Music Composer and Performer: Steve Trowbridge

“It's this new normal — because of these vaccines, we can see our family, we can see our friends, and go to company holiday parties.” “It's peace of mind. you just gotta do it.” It's that time of year again, so we decided to sit down and talk about not just our holiday plans, but everything else going on in life. You know “the new normal” - which is only possible because we've gotten our latest COVID vaccines. So our friends at the US Department of Health & Human Services asked us to talk about the importance of getting vaccines this holiday season to make those family gatherings safer and extra special. I mean, how else are you going to have time to have (or share) all that home cooking you've been craving? Raman and Sharon also reveal a few other holiday confessions as they get ready to wind down the year... MENTIONS Vaccine.gov Weezer & LA Philharmonic: youtube.com/watch?v=Y7hPgYfXBTk&list=PLkxdFdoCCrLlw_MeYgQvETU0pBsXxrnWO Weezer (not) on Broadway: https://pitchfork.com/news/weezer-cancel-broadway-residency/ BOOK: Fables: kotaku.com/fables-the-kotaku-comic-review-1724740964 FILM: Spirited: imdb.com/title/tt10999120/ This episode is sponsored by the Department of Health & Human Services, who's encouraging you and your community to make sure you've got the latest COVID-19 Vaccines. We can do this, together. Find the latest vaccines near you @ VACCINES.gov Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm joined in the backyard this week by Violympian and VMC participant Travis Maril, as well as his fellow USC alum and my Director of Operations, Kate Reddish. Our wide-ranging conversation includes no small measure of pedagogical geekery, as well as such diverse topics as Tae Kwon Do bribery and Michael Jordan's private Space Jam gym. Violist Travis Maril is String Coordinator and Viola Faculty at San Diego State University (SDSU), where he has taught since 2007. At SDSU he also serves as Co-Director of the Community Music School's String Academy, a pre-college program for young musicians, which he co-founded in 2012.  As violist with the Hyperion Quartet, Travis was a prizewinner at the Fischoff National Chamber Music Competition. Over the years he has collaborated in chamber music projects with principal players of the LA Philharmonic, Cleveland Orchestra, Cincinnati Symphony, San Diego Symphony, and members of the Chamber Music Society of Lincoln Center, Miró Quartet, and Brooklyn Rider, among others.  Locally he performs frequently with Camarada, Art of Elan, and with the San Diego Symphony. Inspired by the Violympics in 2021, Travis started String Gym, his own online program for violinists and violists. Through String Gym, Travis works with players across the US, Australia, Germany and Taiwan.  From time to time he also writes about music-related topics on his blog, String Theory. You can also follow Travis on Instagram. If you're interested in joining us for the fifth iteration of VMC, starting in 2023, you can find out more information here, and apply here.

I'm joined in the backyard this week by Violympian and VMC participant Travis Maril, as well as his fellow USC alum and my Director of Operations, Kate Reddish. Our wide-ranging conversation includes no small measure of pedagogical geekery, as well as such diverse topics as Tae Kwon Do bribery and Michael Jordan's private Space Jam gym. Violist Travis Maril is String Coordinator and Viola Faculty at San Diego State University (SDSU), where he has taught since 2007. At SDSU he also serves as Co-Director of the Community Music School's String Academy, a pre-college program for young musicians, which he co-founded in 2012.  As violist with the Hyperion Quartet, Travis was a prizewinner at the Fischoff National Chamber Music Competition. Over the years he has collaborated in chamber music projects with principal players of the LA Philharmonic, Cleveland Orchestra, Cincinnati Symphony, San Diego Symphony, and members of the Chamber Music Society of Lincoln Center, Miró Quartet, and Brooklyn Rider, among others.  Locally he performs frequently with Camarada, Art of Elan, and with the San Diego Symphony. Inspired by the Violympics in 2021, Travis started String Gym, his own online program for violinists and violists. Through String Gym, Travis works with players across the US, Australia, Germany and Taiwan.  From time to time he also writes about music-related topics on his blog, String Theory. You can also follow Travis on Instagram. If you're interested in joining us for the fifth iteration of VMC, starting in 2023, you can find out more information here, and apply here.

My guest this week is composer and pianist Timo Andres.He's performed with the LA Philharmonic, the Britten Sinfonia, and countless others and also collaborated with Sufjan Stevens, Chris Thile, the Kronos Quartet, and Philip Glass,He's a virtuoso on the piano and a virtuoso in his fits.Timo and I chat his career in music, whether or not you need high-end headphones to appreciate classical music, his Herman Miller collection, getting fits off while slamming the ivories and why Phillip Glass thinks he's the real MVP.**Sponsored by Standard & Strange – Get the facts on denim

Valerie Tosi (@valerie_tosi) joins the ladies to talk about morning radio DJs, Valerie's love of musicals and pinball and the most recent facts they have learned. They also play This or That, they talk about those scary LA Philharmonic ads in downtown LA and being interviewed as women in comedy. They answer two lady problems about a listener's sick mother and protecting yourself when going to the bathroom. Have a lady problem that needs answering? Send the ladies an email at: ladytoladycomedy@gmail.com or, better yet, leave us a voicemail at (323) 6BUTT30! Want to support the show and get access to bonus content? You can do so by subscribing to us on Stitcher premium! You can also join us over at Patreon.com/LadytoLady to get access to ad-free episodes, exclusive merch, and more!  Get bonus content on Patreon: http://www.patreon.com/ladytolady See omnystudio.com/listener for privacy information.