Podcasts about Leonard Bernstein

Her father, Leonard Bernstein, thought “that if he could write a good enough song, maybe he could stop war.” Not insane, aspiring. “It's ridiculously idealistic, but that was his impetus.” Tales of a famous father. Music: Amy Burton, accompanied by John Musto. Presented with The Village Trip, whose annual festival begins September 19.

På gitarren kommer ljudet direkt när man spelar. Men hur är det egentligen i en tuba eller trombon? Dessutom: historien om begreppet pianoforte. Lyssna på alla avsnitt i Sveriges Radio Play. Musiken som hörs i avsnittet är:Adagio för stråkar av Samuel Barber. Framförd av New York Philarmonic under ledning av Leonard Bernstein.Adagio för stråkkvartett av Samuel Barber. Framförd av Endellion String Quartet.Mozarts pianokonsert nr. 7 i f-dur på pianoforte, framförd av Academy Of Ancient Music under ledning av Christopher Hogwood.Humlans flykt på tuba, framförd av Pattrick Sheridan.

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  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.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

On the August 25 edition of the Music History Today podcast, there's Aaliyah, Elton John, Kanye, & the Boss. Plus, it's Leonard Bernstein's birthday.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

On the August 19 edition of the Music History Today podcast, MTV premieres celebrity reality, Lou Pearlman passes away, and Leonard Bernstein ends a career. Plus, it's Ginger Baker's birthday.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

Gustavo Dudamel is a Venezuelan conductor, violinist and composer. He is known for bringing humour and joy to the podium. He is currently director of the Los Angeles Philharmonic and the Simon Bolivar Symphony Orchestra and in 2026 will take up the post of music director of the New York Philharmonic, following in the footsteps of Gustav Mahler and Leonard Bernstein. Gustavo was born in Barquisimeto, Venezuela in 1981, the son of a trombonist who played in a salsa band, and his mother who was a singing teacher. Growing up in a musical household, young Gustavo used to gather his toys together and put them on the floor in the shape of an orchestra, put a record on and conduct.His parents enrolled five year old Gustavo in the El Sistema music programme and he learned the violin. After showing a flair for conducting he eventually became the conductor of the Venezuelan National Youth Orchestra. After winning the Gustav Mahler Conducting Competition in Germany in 2004, his talent was spotted on a global stage. He was appointed the director of the Los Angeles Philharmonic in 2008. Presenter Lauren Laverne Producer Sarah Taylor

Massachusetts author/former MIT Provost/jazz musician andtheoretical linguist Samuel Jay Keyser talks about his latest release “Play ItAgain, Sam: Repetition in the Arts” taking Leonard Bernstein seriouslyexploring the way repetition works in the sister arts of music, poetry andpainting prominent from Homeric Epics, Rainy Day in Paris, Andy Warhol SoupCans to present day works! Samuel also specializes in the trombone, serves as atheoretical linguist, and has authored numerous books, scientific publications,and editor-in-chief of The Journal Linguistic Inquiry, plus shares the storiesbehind the works! Check out the amazing Samuel Jay Keyser and his latestrelease on many major platforms and www.linguistics.mit.edu/user/keyser/today! #samueljaykeyser #author #massachusetts #formermitprovost#playitagainsam #repitition #repititioninthearts #theorecticallinguist#jazztrombonist #boston #philadelphia #leonardbernstein #music #poetry#painting #homersepics #rainydayinparis #andywarhol #soupcans#thejournallinguisticinquiry #spreaker #iheartradio #spotify #applemusic#youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnersamueljaykeyser#themikewagnershowsamueljaykeyser 

Massachusetts author/former MIT Provost/jazz musician andtheoretical linguist Samuel Jay Keyser talks about his latest release “Play ItAgain, Sam: Repetition in the Arts” taking Leonard Bernstein seriouslyexploring the way repetition works in the sister arts of music, poetry andpainting prominent from Homeric Epics, Rainy Day in Paris, Andy Warhol SoupCans to present day works! Samuel also specializes in the trombone, serves as atheoretical linguist, and has authored numerous books, scientific publications,and editor-in-chief of The Journal Linguistic Inquiry, plus shares the storiesbehind the works! Check out the amazing Samuel Jay Keyser and his latestrelease on many major platforms and www.linguistics.mit.edu/user/keyser/today! #samueljaykeyser #author #massachusetts #formermitprovost#playitagainsam #repitition #repititioninthearts #theorecticallinguist#jazztrombonist #boston #philadelphia #leonardbernstein #music #poetry#painting #homersepics #rainydayinparis #andywarhol #soupcans#thejournallinguisticinquiry #spreaker #iheartradio #spotify #applemusic#youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnersamueljaykeyser#themikewagnershowsamueljaykeyser 

Massachusetts author/former MIT Provost/jazz musician and theoretical linguist Samuel Jay Keyser talks about his latest release “Play It Again, Sam: Repetition in the Arts” taking Leonard Bernstein seriously exploring the way repetition works in the sister arts of music, poetry and painting prominent from Homeric Epics, Rainy Day in Paris, Andy Warhol Soup Cans to present day works! Samuel also specializes in the trombone, serves as a theoretical linguist, and has authored numerous books, scientific publications, and editor-in-chief of The Journal Linguistic Inquiry, plus shares the stories behind the works! Check out the amazing Samuel Jay Keyser and his latest release on many major platforms and www.linguistics.mit.edu/user/keyser/ today! #samueljaykeyser #author #massachusetts #formermitprovost #playitagainsam #repitition #repititioninthearts #theorecticallinguist #jazztrombonist #boston #philadelphia #leonardbernstein #music #poetry #painting #homersepics #rainydayinparis #andywarhol #soupcans #thejournallinguisticinquiry #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnersamueljaykeyser #themikewagnershowsamueljaykeyser  Become a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.

Vielen Dank für die Blumen…-Folge! Jedoch reicht ein perfider Pflanzendiebstahl nicht aus, um die drei Detektive beachtlich zu beschäftigen. Darum werden „Die drei ??? - Dopingmixer“ mit leistungssteigerndem Gift garniert. Sneaker Schwind schafft auch ohne Drogen spielerisch die hundert Meter unter zehn Sekunden. Fitnesslauf Fröhlich sprintet die Strecke selbstsicher sogar noch schneller mit New Wave Boots. Die beiden Hörspielbesprecher danken H. G. Francis für über 600 Audioumwandlungen von Jugend- und Kinderromanen oder eigenen Manuskripten. Legendär waren seine Plemplem-Plots beim Megaerfolg „Masters of the Universe“. Dieses Abenteuer ist die letzte Arbeit des Auftragsschriftstellers. Ingeborg Ottmann und Karin Lieneweg hochwürzen diesen hanebüchenen Pflanzenfall herrlich hysterisch. Bill Clinton und Thomas, die kleine Lokomotive, schauen auch vorbei. Leider konnten wir Wolfgang Lippert nicht verhindern. Was machen die Dirigenten Justus Frantz und Leonard Bernstein bei Heikedine Körting? Welchen Traum hat Justus (also nicht Frantz, sondern Jonas)? Und wieso irritiert Toni Tornado (wenn man mal von seinem Namen absieht)? Machen wir sie also auf: Die großen Tore der Uniwerzellstudios. Ihr habt Fragen, Wünsche oder Anregungen? Dann schickt einfach eine E-Mail an: bobcast@dreifragezeichen.de Hier gibt es alle Infos und Termine zur Bobcast LIVE Tour: https://www.dreifragezeichen.de/bobcastlive „Haschimitenfürst – Der Bobcast“ ist ein Podcast von EUROPA, a division of Sony Music Entertainment Germany GmbH Idee: Andreas Fröhlich/ Regie & Konzeption: Ralf Podszus/ Moderation: Kai Schwind und Andreas Fröhlich/ Titelmusik: Jan-Friedrich Conrad/ Redaktion: Lara Grillmayer / Produktion: Carina Schwarz/ Management & Koordination: Nina Schulze Pellengahr/ Redaktion Sony: Maike Müller/ Covermotiv: Aiga Rasch (Illustrationen), Tom Presting (Gestaltung), Christian Hartman, Haakon Dueland (Fotos)/ Eine Produktion von Podever Vielen Dank an unsere Werbepartner dieser Folge. Zu den Angeboten kommst du hier: https://linktr.ee/Bobcast Schau doch mal vorbei auf: www.kosmos.de/Bobcast, beantworte eine Frage zum neuen Andreas-Eschbach-Roman „Die Auferstehung“ und gewinne ein exklusives Die drei ???-Fanpaket.

Get Keyser's Book here: https://mitpress.mit.edu/9780262552325/play-it-again-sam/   In his famous Norton Lectures (1976), Leonard Bernstein extolled repetition, saying that it gave poetry its musical qualities and that music theorists refused to take it seriously at their peril. In Play It Again, Sam, Keyser takes Bernstein seriously, exploring the way repetition works in the “sister arts” of music, poetry, and painting. He argues, for example, that rhyme in metrical verse is identical to the way songwriters like Duke Ellington, Billy Strayhorn (Satin Doll), Lorenz Hart (My Funny Valentine), and Richard Rodgers (of Rodgers and Hammerstein fame) constructed their iconic melodies. Furthermore, the form of these tunes can be found in classical compositions, including those of Mozart.   Check out our new bi-weekly series, "The Crisis Papers" here: https://www.patreon.com/bitterlakepresents/shop   Thank you guys again for taking the time to check this out. We appreciate each and everyone of you. If you have the means, and you feel so inclined, BECOME A PATRON! We're creating patron only programing, you'll get bonus content from many of the episodes, and you get MERCH!   Become a patron now https://www.patreon.com/join/BitterLakePresents? Please also like, subscribe, and follow us on these platforms as well, (specially YouTube!)   THANKS Y'ALL   YouTube: https://www.youtube.com/channel/UCG9WtLyoP9QU8sxuIfxk3eg Facebook: https://www.facebook.com/Thisisrevolutionpodcast/ Twitter: @TIRShowOakland Instagram: @thisisrevolutionoakland   Read Jason Myles in Sublation Magazine https://www.sublationmag.com/writers/jason-myles   Read Jason Myles in Damage Magazine https://damagemag.com/2023/11/07/the-man-who-sold-the-world/   Read Jason in Unaligned here: https://substack.com/home/post/p-161586946...   New to streaming or looking to level up? Check out StreamYard and get $10 discount!

Even after I publish a Countermelody episode on a favorite singer, I continue to collect material on them, which I then occasionally fold into a potpourri episode of vocal and musical delights. I have dubbed such episodes part of my “Rescue Mission” series and I'm tempted to call today's episode I'm tempted to call “Friend Edition” (even though there are several good friends I've made in recent years who are not represented today). Be that as it may, I do love putting out such episodes, especially as it gives new listeners some idea of the range and depth of the podcast, and the joys of dipping into Countermelody's back catalogue. For today's episode I spread the net particularly wide, and in some cases went way back into my archives so present you with some rarities which I have programmed in such a way to take us from the despair and confusion that many of us are feeling right now into a place of both resolution and resolve to keep holding on and fighting for what is right. Today's setlist includes many Countermelody favorites: tenors George Shirley, Peter Pears, and Jerry Hadley; baritones William Parker and Jorma Hynninen, mezzo-soprano Maureen Lehane; and sopranos Eleanor Steber, Carol Neblett, Sarah Reese, Anne Wiggins Brown, Veronica Tyler, Annabelle Bernard, Denise Duval, Lois Marshall, Gloria Davy, and April Cantelo; with appearances by other great singers who have not yet been featured in full episodes, including Franco Corelli, Sandra Warfield, Helen Watts, Émile Belcourt, Valerie Masterson, and, in memoriam, Béatrice Uria-Monzon. We hear music from César Franck, Ottorino Respighi, Johann Sebastian Bach, Giacomo Puccini, Pyotr Il'yich Tchaikovsky, Franz Schubert, George Gershwin, Gioachino Rossini, Leonard Bernstein, Coleridge-Taylor Perkinson, Emmanuel Bondeville, and Giacomo Meyerbeer. As always, queer artists and artists of color are prominently featured, as one of my objectives in producing this podcast is to foreground such historical artists as essential to our growth and self-awareness. If you're just getting to know the podcast, this is as good a place to start as anywhere! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

durée : 01:28:25 - Leonard Bernstein, passeur de génie - par : Aurélie Moreau - Musicien prodigieux au charisme exceptionnel, compositeur, chef, pianiste et pédagogue, Leonard Bernstein a fait aimer son art à des générations d'auditeurs. Son éclectisme, sa générosité et sa fougue en font un modèle unique dans l'univers musical. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Director Gareth Edwards returns to Dolby Creator Talks to discuss “Jurassic World: Rebirth,” the latest installment in the iconic dinosaur franchise. He and his sound team share how they crafted the film's breathtaking sonic landscape — along with the challenges of an accelerated production schedule, and why that constraint ultimately proved creatively liberating.“Normally, on a movie like this, from the day you first get contacted… to the day you go, ‘OK, we're finished,' it's about two-and-a-half years. And this was a year-and-a-quarter! Jabez [Olssen], who's our editor, he put a quote on the door of the edit suite… It was [from] Leonard Bernstein, and it said something like, ‘Art is when you have a plan but not quite enough time.' And there was something about that idea of when there isn't time to mess around — you can't experiment like crazy, you gotta go with your first gut instinct — something interesting happens. And I'm half-tempted now, in all future contracts to make another film, to ask, ‘Whatever schedule you're considering, can you just halve it?'”—Gareth Edwards, Director, “Jurassic World: Rebirth”Joining today's conversation: - Gareth Edwards - Director - Tim Nielsen - Sound Designer and Supervising Sound Editor - Bjørn Ole Schroeder - Supervising Sound Editor - Pete Horner - Re-recording MixerBe sure to check out “Jurassic World: Rebirth,” now playing in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on YouTube.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

28 anni dopo di Danny Boyle è il terzo episodio della trilogia postapocalittica cominciata nel 2002 con 28 giorni dopo. Nelle maglie del terrore è un saggio divulgativo dell'artista e poeta britannica Suhaiymah Manzoor-Khan che esplora le ragioni profonde dell'islamofobia e del razzismo. Al Caracalla Festival di Roma va in scena una nuova produzione del musical West side story di Leonard Bernstein con l'orchestra e il corpo di ballo dell'Opera di Roma. Nathan Hill nel suo ultimo romanzo Wellness racconta la vita di coppia nella Chicago a cavallo tra gli anni novanta e il nuovo millennio, in quel momento di passaggio dalle proteste no global all'accetazione del modello neoliberista. CONPiero Zardo, editor di cultura di InternazionaleCatherine Cornet, arabista che collabora con InternazionaleMaria Luisa Buzzi, giornalista e critica, direttrice della rivista Danza&DanzaValentina Pigmei, giornalista che collabora con InternazionaleSe ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità . Vai su internazionale.it/podcastScrivi a podcast@internazionale.it o manda un vocale a +39 3347063050Produzione di Claudio Balboni e Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Direzione creativa di Jonathan Zenti.28 anni dopo: https://www.youtube.com/watch?v=mcvLKldPM08Nelle maglie del terrore: https://www.youtube.com/watch?v=pACEZWfr36kWest side story: https://www.youtube.com/watch?v=_e2igZexpMs&t=60sWellness: https://www.youtube.com/watch?v=7JMose3KBj0

"Eminent Jews" author and New Yorker writer David Denby discusses Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer in this conversation about identity, legacy, and the American Jewish experience with political commentator Joe Klein in a program of the Temple Emanu-El Streicker Center.

Conductor and composer Michael Tilson Thomas sits down with CBS News' Lesley Stahl to discuss his family history of show business; mentoring and directing young musicians; and the competitive element of his relationship with Leonard Bernstein. He also gives Stahl a lesson in conducting, including how to "mix it up," and explains why D♯ and E♭ – which share the same key on a piano – can represent two different notes. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

durée : 00:23:47 - "Candide" de Leonard Bernstein, Original Broadway Cast - L'opérette Candide a été créée le 26 janvier 1957 au Canergie Hall, à New York, sous la direction de Leonard Bernstein. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This is an Encore Presentation of Robert's January 2025 interview with Classical Music Superstar JoAnn Falletta. For 25 years JoAnn has been the Music Director and Conductor of the Buffalo Philharmonic Orchestra. She was the first female conductor in the United States of a major symphony orchestra. She's a Juilliard graduate. She studied with Leonard Bernstein. She's a 2x Grammy winner. My featured song is “New York City Groove”, from the album Made In New York by my band Project Grand Slam, in honor of the fact that both JoAnn and I grew up in New York City. Spotify link.—--------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH JOANN:www.joannfalletta.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my 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—----------------------------------------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 

“Discovering your voice is a lifelong journey.” Leonard Bernstein

This week's show, after a Beach Boys bathe: brand new The Effigies, Successful Failures, Bob Mould, Robert Forster, Jesse Welles, Brief Candles, and Stalwart Lovers, plus Del Shannon, The Beatles, Zombies, Brian Wilson, Leonard Bernstein, Prince Far I,...

Jennifer Hart - Hailed as a choreographer “with an imagination so exuberant that one could not be sure how one movement led to the next” and “not only inventive but heart-rending,” Jennifer Hart has been commissioned by Ballet Austin, Ballet Austin ll, Ballet Nouveau Colorado (now Wonderbound), James Sewell Ballet, Minnesota Dance Theater, The Walker Art Center's Momentum Series, The McKnight Fellowship for Dancers, Metropolitan Ballet Project, University of Kansas, University of Massachusetts, Lawrence Ballet Theatre, Halcyon Dance Project in San Francisco, and Merick Strategies for its production of Leonard Bernstein's “Mass” and “Icons of Broadway Holiday Spectacular.” In July, 2022, Hart was one of four choreographers selected for National Choreographers Initiative.In 2011, Hart was awarded a New York City Ballet Fellowship and won third place at the Saint-Sauveur International Choreography Competition. She received second place at Ballet Nouveau Colorado's choreography competition, and was one of three winners of the University of Kansas' competitive choreography competition. She was chosen three times to present work at Ballet Builders, New Choreographer's on Point in NYC. She was commissioned by University of Massachusetts in the fall of 2013; the work was chosen for the National College Dance Festival at the Kennedy Center, June 2014. In 2024, she was a finalist in the Palm Desert Choreography Festival.In 2014, she formed Performa/Dance with Ballet Austin dancer Edward Carr. Performa/Dance launched its inaugural show. Ignite: Three Works, in June, 2014. Her work for Performa/Dance was awarded four Austin Critic's Table awards for Best Short Work (“On Truth and Love”and "Camille: A Story of Art and Love"), Best Choreographer  ("Fellow Travelers" and “Murmuration"), and Best Dance Concert (Ignite: Three Works). Along with her work in concert dance, she has choreographed and performed cabaret shorts for nightclubs and television, and has begun working in video. She recently choreographed and co-directed the epic Bernstein's Mass, a work involving 300 performers.She trained at Minnesota Dance Theatre, Pacific Northwest Ballet and San Francisco Ballet. Her performing career includes Minnesota Dance Theater, Ballet of the Dolls, and L.A Chamber Ballet, as well as independent choreographers. She choreographs for Ballet Austin's apprentices and Fellowship recipients, teaches full-time in the academy and apprentice program, and serves as Curriculum Supervisor of the school where she sets syllabus and leads training for academy teachers.

With his fantastic new book, EMINENT JEWS (Holt), writer and critic David Denby explores the impact on American culture of Jews Unbound through profiles of Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. We talk about how he selected his four subjects, how each of them came of age in an environment that Jews hadn't experienced in millennia, the ways each handled the responsibilities of family against their careers, the difference between "Jew" and "Jewish," and which one unfolded the most to him over the course of writing the book. We get into why Bernstein's greatest role may have been as a teacher, how Mailer's magnetism persisted way beyond its expiration date, how Friedan changed the world but was always challenged by her midwest upbringing, and whether Brooks was being disingenuous when he made musical numbers of our the Inquisition and Hitler. We also discuss judgements David made over the course of his career as a movie critic, what he did when he finally gave up reviewing and how he eased back into the cinema, why he revisited the Lit Hum course at Columbia a few years ago, after previously revisiting it 30+ years ago for Great Books, his take on my my lightning round of classic lit questions, his non-Le Carré experience in East Berlin, his reaction to my parents taking me to History of the World: Part 1 when I was 9, and more. Follow David on Instagram • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter

This week's episode of Broadway Nation is the second half of my conversation with author Ron Fassler, whose latest book is titled The Show Goes On — Broadway Hirings, Firings, and Replacements. Among the outstanding Broadway performers and creatives who are at the center Ron's fascinating stories include Abe Burrows, Bernadette Peters, Chita Rivera, Comden & Green, Cynthia Erivo, Fantasia, Frank Loesser, Gower Champion, Harold Prince, Howard Keel, Iva Withers, Jane Russell, Jeff Conaway, Jerry Orbach, Jerry Zaks, Jo Swerling, John Cullum, John Kander & Fred Ebb, John Travolta, LaChanze, Leonard Bernstein, Leroy Anderson, Lewis J. Stadlin, Michael Bennett, Michelle Lee, Robert Preston, Rosalind Russell, Shelly Winters, Sheila Smith and Yvonne De Carlo. And the musicals referenced include 1776, Carousel, Company, Follies, Grease, Guys And Dolls, How To Succeed in Business, Kiss of the Spider Woman, Mack & Mabel, Minnie's Boys, Oklahoma!, The Color Purple, Wonderful Town and more! Ron Fassler is a historian,  theater critic, and former actor whose previous book is, Up in the Cheap Seats — A Theatrical Memoir of Broadway. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members, such as Carl Baldasso. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: ⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Robert F. Kennedy Jr.'s skepticism of vaccines and mainstream medicine is making waves in the agency he oversees. Host Colby Itkowitz talks with The Post's national health reporter Lena Sun and health and science accountability reporter Lauren Weber about how Kennedy's recent vaccine announcement and his “Make America Healthy Again” movement are shaping health policy for all Americans. Today's show was produced by Laura Benshoff with help from Elana Gordon. It was edited by Lucy Perkins and mixed by Sam Bair. Thanks also to Leonard Bernstein. Subscribe to The Washington Post here.

Welcome back to our Podcast. and in this episode, we are going to explore the mysterious junction between human potential and the human predicament. Today, we're diving into an idea that may sting a little at first, but, if we look closely, it might also open a hidden door to hope. It involves the unfortunate observation that while human technology, what we do, has evolved at an astonishing pace, human consciousness, who we actually are, has lagged significantly behind. Our ability to split atoms, utilize instant global communications, and code digital realities has raced ahead at lightning speed, fueling our Modern Times. But our capacity for empathy, humility, compassion and having the capacity to be able to live a peaceful, and meaningful life looks much more like we're still stuck the Middle Ages. Which brings us to the content of this episode called “Spears and Switchblades: One Stubborn Species.” To help bring the basic idea into focus, we're going to compare two of the most iconic love tragedies ever put on the stage: William Shakespeare's Romeo and Juliet and its mid-20th century musical reincarnation, West Side Story. Though separated by more than 350 years, these two narratives—one set in Renaissance Verona and the other in 1950s New York City—are mirrors reflecting the same fundamental human flaws. Jealousy. Tribalism. Miscommunication , Stubborness and Pride, among many others. All of which are run by an emotional impulsivity that can turn love into war, and beauty into ashes. So, the first question that we want to explore is: have we grown at all in the past 400 years? Or have we simply become more sophisticated in the weaponry that we have developed in order to kill each other more efficiently? Let's start with the core human dynamics that drive both plays, because even though they are separated by centuries, their basic human flaws remain exactly the same. In Romeo and Juliet, two teenagers fall in love across the boundary of a family feud. The Montagues and Capulets have nursed a blood vendetta for so long that no one even remembers how it started. And it doesn't matter anymore. They just plain hate each other. And its consequences are clear: violence in the streets, death, heartbreak, and ultimately, a double suicide. What are the dominant negative human traits here? Hatred passed down like an heirloom Honor culture run amok Impetuous emotion overpowering reason A lack of inner stillness or reflection, overcome by rage Fast forward 400 years to West Side Story, and we meet Tony and Maria, two lovers from opposing street gangs: the Jets, composed mostly of white working-class youths, and the Sharks, made up of Puerto Rican immigrants. Once again, love blossoms in hostile soil, and once again, the terrible price of primal tribal hatred is death. Different clothes, different slang, different soundtrack. Same madness. And this is the bottom line of the issue. Totally different external world, everything has changed, as well it should. After all, four hundred years have gone by and the situation facing the teenagers living in the streets of New York City would be absolutely unimaginable to the kids running around in the late 1500's.  Completely different on the outside – yet the inner madness remains exactly the same. And the ramifications of this imbalance are immense. Let's compare the outer worlds of these two stories: Romeo and Juliet takes place in late 16th-century Verona. It's a world without electricity, medicine as we know it, or organized police. Family ruled everything. Honor was a matter of life and death. Raw emotions emerged dramatically and physically. And the sword was both symbol and solution. West Side Story unfolds in 1950s Manhattan, post-WWII. Televisions had entered the living room. Jet engines had conquered the sky. The UN had been formed, civil rights movements were stirring. Science had given us vaccines, electricity, and refrigeration. And yet... disputes were still settled with violence. In this case, the weapon of choice was the switch blade. Anger and tribal pride still led to bloodshed. And the beauty of love still ended in the tragedy funerals. So, what changed? The world around us got faster, smarter and ever-more connected. But the world inside us? Pretty much the same old garbage pail. And one of the primary central drivers in both stories is basic tribalism—the instinct to form in-groups and out-groups. The name of the game is us-versus-them. In Romeo and Juliet, the tribes are defined by blood. In West Side Story, by race and ethnicity. In both, the borders are irrational and absolute. This human trait is ancient, seemingly almost hardwired into our survival code. We evolved in small tribes where loyalty equaled life, and strangers equaled threat. But now we live in megacities, online echo chambers where we're still addicted to tribalism. We divide ourselves by politics, religion, race, nationality, gender identity, and more—often with a sense of inner hostility that's far more emotional than rational. In both plays, the pride of belonging to an in-crowd becomes a major fuse. Tybalt's stone cold sense of us and them, along with an ego based identification with personal honor won't let him ignore Romeo's presence at the Capulet ball. Four hundred years later, Bernardo's defense-based sense of belonging to the Sharks won't let him see Tony as anything but another American self-entitled Jet. In both cases, primal tribal dignity demands a serious and significant attack against the perceived enemy. So, the basic recipe for tragedy that spans the centuries remains the same: paranoid pride, mixed with anger and fear, driven by impulse and untampered by any wisdom or understanding turns into a violent weapon of darkness and death. In a certain sense, what happened to us over the years isn't evolution at all. It's just plain repetition Unfortunately, of course this didn't end in the late 1950's. Far from it. While we've vastly upgraded our weaponry, we've also developed more subtle, yet powerful ways to threaten and hurt each other, like social media shaming for example,  where it becomes pretty easy to ruin someone's life just by pressing a few buttons. In the time between William Shakespeare and Leonard Bernstein, humans invented calculus, steam engines, telegraphs, airplanes, televisions, and atomic bombs. We mapped the human genome. We put men on the moon. But we still haven't figured out what we're really all about. Oh, we all know how to chase things, but are these things that we've been programmed to chase real, or they just illusions? Maybe we're just addicted to chasing, itself. In that regard, we've all heard about the tendency of dogs to chase cars. But there are two key aspects to that particular pursuit. One – the dog can never really catch the car. It is much too fast for it. And secondly – what happens if the dog actually does catch the car and we all know the answer to that – nothing. The dog can't do anything if and when it catches the car. It's the same way for us. We're just running after things on the outside, oblivious to who we really are and what we are really made of, not to mention what can actually make us truly happy and satisfied. And all of this goes on while we continue to improve our technology by leaps and bounds. Yet, we still don't know how to disagree without resorting to violence. We still haven't universally adopted the idea that every human being, regardless of their identity, has intrinsic value. We still raise children who feel unloved, unheard, or unsafe. We're still driven by fear disguised as pride. We still confuse dominance with dignity. And we still kill the thing we love because we don't know how to hold it. And the bottom line of it all is basically defending the inherent illusion of our ego selves, which is still at the basic foundation of our inner C-Suite. As such, we still confuse noise with strength. And we still take most the good things in our life for granted, which is truly tragic. Like Joni Mitchell sang in a seemingly earlier age, “Don't it always seem to go that you don't know what you've got till it's gone.” As it all continues to spiral further, in so many ways, the message to us is crystal clear – It's time to wake up and grow up. Romeo and Juliet loved across a line they weren't supposed to cross. Tony and Maria did it too. Their love was a shining light in the midst of all this darkness. Even though everything seemed to be against them, they knew what they had. And we knew it too. And despite what we knew it was that they were facing, we all rooted for them, because something about the higher thing in life, the Better Angels of Our Nature, speaks to the deepest part of our intelligence, both in our hearts and in our minds. We have more tools than ever to connect across cultures, to educate, to innovate, to heal. And yet, we still face the same old demons. But here's the good news: we are capable of change. Unlike the characters in those plays, our story isn't written yet. We are not locked in a script. We can choose awareness. We can choose evolution. The keynote to both of these tragedies is that it is time to individually bring our inner light to our own inner darkness. The Wisdom of the Ages as well as modern brain science tell us that we do have the power to protect this light from the winds of hate, fear and pride, and that we can, and essentially must, cultivate the inner skills of patience, compassion, empathy, and yes - courage. NeuroHarmonics: Inner Technology for a New Humanity That's what the NeuroHarmonic Method is all about: cultivating the inner circuitry to match the brilliance of our outer inventions. It's not just about brainwaves or affirmations or even spirituality. It's about training the nervous system to return to equilibrium, to respond rather than react, to perceive the human being behind the mask, and ultimately to shift from emotional immaturity to presence. From the rage of vengeance to an intuitive sense grace. But this is a path toward real evolution that can only be travelled one person at a time. Because the world won't evolve until we do it individually. Not really. So here we are, somewhere between Shakespeare's Verona and the 21st century, still caught in the drama. But I hate to tell you that the Bard didn't invent this particular tale. The truth is, it stands atop a mountain of ancient stories echoing the same theme—love thwarted by fate, culture, or conflict. And this motif is not unique to the Renaissance or even to Western civilization. The same basic story can be found in the cultures of ancient Greece and Rome, Babylon, ancient Egypt, Persia, and India. Indeed, it's one of the most enduring themes in human storytelling. And the deeper you dig, the further back you go, the more you realize: the tragedy of love versus society and the battle of light versus darkness is as old as storytelling itself. But maybe, just maybe, we're ready to write a different ending. One where love doesn't die. One where pride yields to peace. One where technology finally partners with wisdom. Let's imagine a future version of West Side Story, maybe 400 years from now. What would it take for that version not to be a tragedy? Maybe the gangs might still exist, but their interchange would consist of words instead of weapons. Maybe love would not be hidden in the shadows, but declared in daylight. Maybe reconciliation would be taught in schools, right alongside science and math. Maybe forgiveness would be considered a mark of strength, not weakness. Consciousness evolution would be about not just developing new tools, but new tendencies, moving us from: From reaction to reflection From judgment to curiosity From pride to presence From tribalism to universalism It means valuing not just intelligence, but wisdom. This all represents something to look forward to and welcome into our lives in the here and now, as much as we are able. And if we're not able to yet, at least we can make our intentions known to ourselves. Well, this will be the end of this episode. As always, keep your eyes, mind and heart open, and let's get together in the next one.

I've been so lucky this week to cross paths with several beloved friends and colleagues, in some cases for the first time in ages. One of those friends of many years' standing is the legendary countertenor Drew Minter, with whom I made my very first appearances on the New York concert stage… well, a few years back now! Seeing Drew made me think not only to his influence on me in my early years of singing, but also of the influence of the earliest (and still to my mind the greatest) of all American countertenors, Russell Oberlin. A few years ago, I dedicated a pair of episodes to him, and today I present to you the second of those episodes, originally fashioned exclusively for my Patreon subscribers, yet another “refurbished” Countermelody episode that now sees the light of day. I explore Oberlin's performances of medieval and renaissance music, both with the New York Pro Musica (The Play of Daniel, Dufay, and Dowland) and with the Experiences Anonymes record label (Byrd and 13th Century French Polyphony). I also offer examples of Oberlin's expertise in performance of baroque music, offering two Bach arias (one performed with Leonard Bernstein, the other with Glenn Gould), and several Handel selections, including a complete cantata from one of his rarer LP releases. In addition, we hear a live excerpt of his Oberon in Midsummer Night's Dream opposite the late British soprano Joan Carlyle, as well as a surprising outing as one of the commedia dell'arte players in Strauss's Ariadne auf Naxos, opposite the Zerbinetta of the great African American coloratura soprano Mattiwilda Dobbs. There are additional surprises along the way. The episode opens with a heartfelt tribute to Drew, my reunion with whom prompted this episode in the first place. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 01:28:46 - Mischa Maisky, expressif et passionné - par : Aurélie Moreau - Disciple de Rostropovitch et Piatigorsky, Mischa Maisky a quitté l'Union Soviétique en 1971. Soliste invité des plus grands chefs, dont Leonard Bernstein, il se consacre aussi à la musique de chambre et forme un duo d'exception avec Martha Argerich.

The Beach Boys' SMiLE was abandoned by Brian Wilson in 1967 and eventually performed at an emotional gathering of the faithful in London 37 years later. For writer and lecturer David Leaf it became an obsession. He made a documentary about it in 2004 and has just published ‘SMiLE: The Rise, Fall and Resurrection of Brian Wilson' drawn from detailed conversations with the people involved. He talks to us here about his discoveries, which include … ... the Rolling Stone story that kick-started his obsession. … “a bicycle ride from Plymouth Rock to Hawaii” and other early plans for the album. … how Leonard Bernstein, the Beatles and Derek Taylor racked up the pressure in the studio. … why the other Beach Boys – and Capitol and Murry Wilson - felt the new music was a threat to their livelihood. … how Brian composed the “teenage symphony for God” that became an albatross around his neck. ... “Ray Davies needed a deadline”: the perils of endless recording time. … the magnetism of Van Dyke Parks, a man who “talks in paragraphs”. ... the imagined impact on the world and the band's career if SMiLE had come out in 1967. … the birth of “art rock” versus the strictures of the music business. … the value of the SMiLE myth in the eventual rebirth of the Beach Boys. … the reaction to its long-awaited performance at the Festival Hall in 2004. ... why Brian thought shelving the album would save the group yet “they went from a No 1 single to an act nobody cared about in under a year”. ... and the greatest Beach Boys record of all time. Order SMiLE: the Rise, Fall & Resurrection of Brian Wilson here: https://omnibuspress.com/products/smile-the-rise-fall-and-resurrection-of-brian-wilson-published-10th-october-2024?_pos=1&_psq=smile&_ss=e&_v=1.0Help us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Beach Boys' SMiLE was abandoned by Brian Wilson in 1967 and eventually performed at an emotional gathering of the faithful in London 37 years later. For writer and lecturer David Leaf it became an obsession. He made a documentary about it in 2004 and has just published ‘SMiLE: The Rise, Fall and Resurrection of Brian Wilson' drawn from detailed conversations with the people involved. He talks to us here about his discoveries, which include … ... the Rolling Stone story that kick-started his obsession. … “a bicycle ride from Plymouth Rock to Hawaii” and other early plans for the album. … how Leonard Bernstein, the Beatles and Derek Taylor racked up the pressure in the studio. … why the other Beach Boys – and Capitol and Murry Wilson - felt the new music was a threat to their livelihood. … how Brian composed the “teenage symphony for God” that became an albatross around his neck. ... “Ray Davies needed a deadline”: the perils of endless recording time. … the magnetism of Van Dyke Parks, a man who “talks in paragraphs”. ... the imagined impact on the world and the band's career if SMiLE had come out in 1967. … the birth of “art rock” versus the strictures of the music business. … the value of the SMiLE myth in the eventual rebirth of the Beach Boys. … the reaction to its long-awaited performance at the Festival Hall in 2004. ... why Brian thought shelving the album would save the group yet “they went from a No 1 single to an act nobody cared about in under a year”. ... and the greatest Beach Boys record of all time. Order SMiLE: the Rise, Fall & Resurrection of Brian Wilson here: https://omnibuspress.com/products/smile-the-rise-fall-and-resurrection-of-brian-wilson-published-10th-october-2024?_pos=1&_psq=smile&_ss=e&_v=1.0Help us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

The Beach Boys' SMiLE was abandoned by Brian Wilson in 1967 and eventually performed at an emotional gathering of the faithful in London 37 years later. For writer and lecturer David Leaf it became an obsession. He made a documentary about it in 2004 and has just published ‘SMiLE: The Rise, Fall and Resurrection of Brian Wilson' drawn from detailed conversations with the people involved. He talks to us here about his discoveries, which include … ... the Rolling Stone story that kick-started his obsession. … “a bicycle ride from Plymouth Rock to Hawaii” and other early plans for the album. … how Leonard Bernstein, the Beatles and Derek Taylor racked up the pressure in the studio. … why the other Beach Boys – and Capitol and Murry Wilson - felt the new music was a threat to their livelihood. … how Brian composed the “teenage symphony for God” that became an albatross around his neck. ... “Ray Davies needed a deadline”: the perils of endless recording time. … the magnetism of Van Dyke Parks, a man who “talks in paragraphs”. ... the imagined impact on the world and the band's career if SMiLE had come out in 1967. … the birth of “art rock” versus the strictures of the music business. … the value of the SMiLE myth in the eventual rebirth of the Beach Boys. … the reaction to its long-awaited performance at the Festival Hall in 2004. ... why Brian thought shelving the album would save the group yet “they went from a No 1 single to an act nobody cared about in under a year”. ... and the greatest Beach Boys record of all time. Order SMiLE: the Rise, Fall & Resurrection of Brian Wilson here: https://omnibuspress.com/products/smile-the-rise-fall-and-resurrection-of-brian-wilson-published-10th-october-2024?_pos=1&_psq=smile&_ss=e&_v=1.0Help us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

It starts simply. Two blocked jazz chords with I-V in the bass. And then the vocalist comes in:“Twenty-four hours can go so fast. You look around, the day has passed…”This is Leonard Bernstein's song “Some Other Time” with lyrics by Betty Comden and Adolph Green, written for the 1944 musical, On the Town. It's about three sailors on 24-hour leave in New York City who meet three women before leaving for war. Four characters perform this song (in the stage version), hoping to catch up some other time, but knowing they may never see each other again.I first heard this song a few weeks ago on Bill McGlaughlin's weeknight radio show, Exploring Music. We've been listening to this show for over 16 years—we have it on while we cook and eat dinner.A few weeks ago, he did a series called “Dona Nobis Pacem (Grant Us Peace).” Nestled in the middle of the Wednesday night program, he paired Bernstein's “Some Other Time” with jazz pianist Bill Evans' improvised solo piano recording, “Peace Piece.”I was captivated.I got up from the dinner table and went to the piano to find the two chords by ear, playing along gently with the recording.Today, I'm taking you behind the scenes of these two pieces of music—exploring how they're made, what they have in common, and how hearing them played back to back inspired a listening and improvisation project in my intermediate-level studio class last month.For show notes + a full transcript, click here.Resources Mentioned“Some Other Time” (Bernstein)Exploring Music with Bill McGlaughlin“Peace Piece” (Bill Evans)The Profound Impact of Peace Piece – Bill Evans Time Remembered Documentary Film“Flamenco Sketches” (Miles Davis)“It's Been a Long, Long Time” (Harry James)“Put on Your Sunday Clothes” (Wall-E)“It Only Takes a Moment” (Wall-E)Ep. 042 - What Does It Mean to Be a Teacher-Facilitator?Get a free 15-minute consult with meIf you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyewWhenever you're ready, here are three ways we can work together:1️⃣ Need fresh teaching ideas? Schedule a quick 25-min. call and we'll brainstorm on a topic of your choice. Build an idea bank that you can pull from in the months to come.2️⃣ Have questions about teaching or managing your music career? Book a 60-min call and get personalized advice, creative ideas & step-by-step strategies on up to 3-4 teaching/business topics.3️⃣ Develop the skills and strategies you need to plan the year, refine your teaching methods, and manage your time more effectively with a suite of online courses and professional development trainings

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This episode of The Other Side of the Bell, featuring trumpet legend and women's trumpet trailblazer Marie Speziale, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Marie Speziale trumpet interview" *Note to listeners and viewers: we're rebalancing our podcast release schedule, to alternate The Other Side of the Bell with our other two podcasts: Trombone Corner and The Horn Signal. Hence the back-to-back episode of TOSOTB this week!  If you haven't already, check out our other two shows for more fantastic interviews with horn-playing legends!   Trombone Corner The Horn Signal     About Marie Speziale:   Acknowledged as the first woman trumpeter in a major symphony orchestra, Marie Speziale retired from the Cincinnati Symphony Orchestra in 1996 after having served as Associate Principal Trumpet for thirty-two years (1964-1996).   A graduate of the College-Conservatory of Music in Cincinnati (CCM), Ms. Speziale studied with Robert Price, Eugene Blee and Arnold Jacobs. Her tenure with the Cincinnati Symphony Orchestra (CSO) included playing with the Cincinnati Opera, Cincinnati May Festival, Cincinnati Ballet and Cincinnati Pops Orchestras. She performed under the batons of Igor Stravinsky, George Szell, Leonard Bernstein, Aaron Copland, Eugene Ormandy, Eric Leinsdorf, Max Rudolf and so many more.   In addition to solo appearances with the Cincinnati Symphony, Cincinnati Pops and Cincinnati Chamber Orchestras, she was featured on NBC's Today Show at age 15, in an impromptu jam session with Duke Ellington shortly after joining the orchestra, and with Dave Brubeck on the Johnny Carson Tonight Show, the CSO European tour, and at the Interlochen Arts Academy. While a student at CCM, she recorded sound tracks for James Brown, whose career was launched by the historic King Records in Cincinnati.   Marie served on the CCM faculty, 1964 -1973, on the faculty at Miami University of Ohio, 1973 - 1979, and returned to CCM as Adjunct Associate Professor, 1979 - 2002. She was appointed Professor of Music at Indiana University 1999, serving there until a year after her 2001 appointment as Professor of Trumpet and Brass Department Chair at the prestigious Shepherd School of Music at Rice University.   In 1999, Marie was one of six Americans (and the only American woman) to be invited by the Tokyo International Music Festival to perform in its first Super World Orchestra. In addition to the National Trumpet Competitions, she has served as adjudicator for the ITG, IWBC and the prestigious Fischoff National Chamber Music competitions.   In 1996, Ms. Speziale performed with the Monarch Brass on its inaugural tour. She conducted the Monarch Brass at the 1997 and 2014 conferences, and played, toured and recorded with Monarch Brass Quintet and Monarch Brass Ensemble until retiring from playing.   President of IWBC, 1997 - 2001, Marie hosted the 2000 conference at CCM and served on the Board of Directors.   Ms. Speziale has won many awards and honors, including Leading Women in the Arts Award from the Greater Cincinnati Coalition of Women's Organizations, the Outstanding Woman of the Year in Music Award from the Tampa Tribune, the SAI Chapter, Province and National Leadership Awards, the Pioneer Award from the International Women's Brass Conference, the Golden Rose Award from the Women Band Directors International, the Woman of Excellence Award from the Italian Club of Tampa, the Distinguished Alumna Award from CCM and the Outstanding Alumni Award from the University of Cincinnati.   In 2018, Marie was inducted into the Cincinnati Jazz Hall of Fame as part of their recognition of the Symphony Jazz Quintet, of which she was a founding member. She was presented with the prestigious Honorary Award from the International Trumpet Guild at their 2018 conference. In 2019, Ms. Speziale was one of 100 women recognized by Cincinnati Arts Wave in their Celebration of Women in the Arts: Power of Her.   Marie Speziale retired as Professor Emerita from Rice University in 2013. She currently serves on the Board of Trustees of the American Classical Music Hall of Fame and the Emeritus Board of the IWBC.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - courtesy of Marie Speziale Audio Engineer - Ted Cragg  

We now pull out the third record from this seven disk box set. A record that features a relatively unknown work AND probably one of the most famous works in music history. Talk about a dichotomy.   This is music from the immortal Ludwig Van Beethoven. His symphonies live on in performances to this very day.   Plus I decided to play three movements from each symphony. I thought this joint needed some classing up.   So, settle in and get ready to hear the man who is said to have set music free in Volume 227: Beethoven's 4th & 5th.   For more information about this album, see the Discogs webpage for it.    Here is the promised Leonard Bernstein video.    Credits and copyrights   Beethoven, René Leibowitz, The Royal Philharmonic Orchestra, The Beecham Choral Society – The Nine Symphonies Of Beethoven Ludwig van Beethoven Label: Reader's Digest – RD 4-6 Format: 7 x Vinyl, LP Box Set Released: 1966 Genre: Classical Style: Romantic, Choral   This is record 3 of a 6 record set. We will hear two movements from the 4th Symphony and three from the 5th.   Symphony No. 4 In B-Flat Major, Op. 60 First Movement - Adagio; Allegro Vivace Second Movement - Adagio Fourth Movement - Allegro Ma Non Troppo   Symphony No. 5 In C Minor, Op. 67 First Movement - Allegro Con Brio Third Movement - Allegro Fourth Movement - Allegro   I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.   #beethoven #beethovensfifth  #musicalmemories #musichistory #vinylcollecting #vinylrecords #fyp

In this episode of Half Hour with Jeff & Richie, we dive into the 2025 City Center Encores! production of Wonderful Town in New York City. We break down what worked-and what didn't-in this revival of Leonard Bernstein's musical about two sisters chasing their dreams in 1930s Greenwich Village. From the standout Encores! Orchestra and impressive choreography to the modernized costumes and a book that left us wanting more, we share our honest takes on the show's direction, design, and overall impact. We also talk about mixed audience reactions, the challenges of updating a classic, and why live theater in NYC is always worth the trip. Follow and connect with all things @HalfHourPodcast on ⁠⁠⁠Instagram⁠⁠⁠, and ⁠⁠⁠YouTube⁠⁠⁠. Share your thoughts with us on ⁠⁠⁠⁠⁠Wonderful Town⁠⁠ on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

New York Times bestselling author, veteran film critic, and New Yorker staff writer David Denby chats with Zibby about EMINENT JEWS, which profiles Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. The conversation spans from Denby's early years under the mentorship of Pauline Kael to his decades-long career at The New Yorker, before diving into the cultural impact and complex legacies of the book's four iconic Jewish figures. Along the way, they discuss the evolution of Jewish identity in American media, the legacy of Bernstein as portrayed in Bradley Cooper's Maestro, Mel Brooks' fearless comedy, and what it means to reclaim the word "Jew."Purchase on Bookshop: https://bit.ly/42QJ84lShare, rate, & review the podcast, and follow Zibby on Instagram @zibbyowens! Now there's more! Subscribe to Moms Don't Have Time to Read Books on Acast+ and get ad-free episodes. https://plus.acast.com/s/moms-dont-have-time-to-read-books. Hosted on Acast. See acast.com/privacy for more information.

Diane and Sean discuss the Steven Spielberg adaptation of Jerome Robbins', West Side Story. Episode music is, "I Feel Pretty", by Stephen Sondheim and Leonard Bernstein, performed by Rachel Zegler from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

Le génie de la direction d'orchestre et de la composition, un charisme sans égal, une culture universelle, un charme ravageur : c'est peu dire que Leonard Bernstein aura cumulé tous les dons. Retour sur la personnalité flamboyante de celui que tout le monde appelait « Lenny ».Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

It's Miriam Shor, y'all! You Might Know Her From Younger, Hedwig and the Angry Inch, Magic Hour, GCB, Shortbus, Swingtown, Maestro, American Fiction, and Guardians of the Galaxy Vol 3. Miriam gave us all the scoop on grounding the zaniness of Diana Trout on Darren Star's Younger, leading the indie comedy Magic Hour, and appearing in "brilliant but canceled" series like GCB and Swingtown. All that, plus Miriam talked to us about being one of John Cameron Mitchell's "players," appearing in Shortbus and, of course, originating the role of Yitzhak in the Hedwig universe; popping up in prestige Oscar films; her musical theatre roots; New York City history; and dying by way of a paintbrush in The Americans. We just LOVED Miriam. Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Genesis' “Land of Confusion” + Garbage Pail Kids + Whoopi Goldberg latex mask Realistic latex masks on TikTok Eddie Fisher was married to Debbie Reynolds but cheated on Debbie with Elizabeth Taylor when her husband (their friend), Mike Todd died  Christina Milian and The Dream; Little Wayne and Nivea swapped Damian loves a sexy network drama and also HBO's Real Sex, Taxicab Confessions People raising hyper realistic fake babies Lars and the Real Girl ; Companion MIriam's first leading film role is in Magic Hour Dons a bald cap in Guardians of the Galaxy III American Fiction had a $5M budget Cord Jefferson's Oscar speech Played Diana Trout on Darren Star's Younger for 6 seasons Darren Star also made Beverly Hills, 90210, Melrose Place, Sex and the City, Emily in Paris, Good Christian Bitches Robert Harling wrote Steel Magnolias Cricket Caruth Reilly Met her husband doing karaoke - also with Bridget Everett Marie's Crisis got a resurgence thanks to Younger St Marks Is Dead by Ada Calhoun Il Posto Accanto (thanks to Debi Mazar); Supper; Gnocco Swingtown was championed by Nina Tassler but killed by Les Moonves Hedwig and the Angry Inch was Miriam's first audition and show in New York Met Lou Reed, Joey Ramone, Elliot Smith, Pete Townsend because of Hedwig Anne saw Debbie Does Dallas in the Jane Street Theatre but didn't get to see Hedwig Shortbus with John Cameron Mitchell Did Fiddler on the Roof tour in 1994 with Theodore Bikel (Captain Von Trapp in Original Broadway cast of The Sound of Music). “Edelweiss” was written for him by Rodgers & Hammerstein  Appeared at Public Theatre's production Lynn Nottage's Sweat (it later won the Pulitzer Prize)  Wants to do Shakespeare in the Park Was Mary in Kennedy Center Production of Merrily We Roll Along (A GREAT DRUNK in a FAT SUIT, her big scene at 15:40) Was a waitress in Todd Haynes' Mildred Pierce miniseries  Was directed by Bradley Cooper as Leonard Bernstein in Maestro Appeared as lesbian in The Wild Party with Sutton at Encores, played gay in And Just Like That Season 2; and was Yitzak in Hedwig Anne's obsessed with this portrait Morgan Freeman is supposed to have painted of a nude Diane Keaton in Five Flights Up (see right)  Friends with Cynthia Nixon and her wife Christine Played an artist in The Americans (“I'm pulling the drawing OUT of the paper”) Adam Scott and Carol Burnett are great drunks; we love a pilled out Samatha Mathis in American Psycho “Room Tone” is when Sound Dept records sound of the room to lay under the scene if necessary “Corpsing” is when you break character (Peter Hermann is worst) Miriam is Directing a documentary about NDAs Quincy Jones said that Richard Pryor had sex with Marlon Brando We hope Amanda Bynes gets a comeback. Faye Dunaway, Tatyana Ali, Leanna Creel and her triplets. Not Millie Bobby Brown Matlock cast on Jennifer Hudson runway  

Order The Memory Palace book now, dear listener. On Bookshop.org, on Amazon.com, on Barnes & Noble, or directly from Random House. Or order the audiobook at places like Libro.fm.During mid-April, 2025, I'm doing a southern book tour, with stops in San Antonio, Houston, Gainesville, Montgomery, New Orleans, and Oxford. Find out more at www.thememorypalace.us/events.The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show, you can make a donation at Radiotopia.fm/donate. I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. Music Hallway Rug and a bit of Watering Plants by Omni Gardens Dripping Icicles from Lalo Schiffrin's great score to The Fox. Girl Talk by the Howard Roberts Quartet Jules et Therese from the score to Jules et Jim Franz Waxman's main title theme to Woman of the Year Your Love from the legend, Frankie Knuckles Then we go back and forth between Joe Morello's Timeless and Lara Downes playing Leonard Bernstein's Big Stuff. Learn about your ad choices: dovetail.prx.org/ad-choices

Who are the most symbolic mid 20th century American Jews? In Eminent Jews, New Yorker staff writer David Denby tells the remarkable stories of Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. He explains how each embodied a new Jewish confidence after WWII, contrasting with earlier generations' restraint. Each figure pushed boundaries in their own way - Bernstein through his musical versatility, Brooks through his boundary-pushing humor about Jewish experiences, Friedan through her feminist theories, and Mailer through his provocative writing style. Five key takeaways * Post-WWII Jewish Americans displayed a newfound confidence and willingness to stand out publicly, unlike previous generations who were more cautious about drawing attention to their Jewishness.* The four figures in Denby's book (Bernstein, Brooks, Friedan, and Mailer) each embraced their Jewish identity differently, while becoming prominent in American culture in their respective fields.* Mel Brooks used humor, particularly about Jewish experiences and historical trauma, as both a defense mechanism and a way to assert Jewish presence and resilience.* Each figure pushed against the restraint of previous Jewish generations - Bernstein through his expressive conducting and openness about his complex sexuality, Friedan through her feminist activism, and Mailer through his aggressive literary style.* Rejecting the notion that a Jewish "golden age" has ended, Denby believes that despite current challenges including campus anti-Semitism, American Jews continue to thrive and excel disproportionately to their population size.David Denby is a staff writer at The New Yorker. He served as a film critic for the magazine from 1998 to 2014. His first article for The New Yorker, “Does Homer Have Legs?,” published in 1993, grew into a book, “Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World,” about reading the literary canon at Columbia University. His other subjects for the magazine have included the Scottish Enlightenment, the writers Susan Sontag and James Agee, and the movie directors Clint Eastwood and the Coen brothers. In 1991, he received a National Magazine Award for three of his articles on high-end audio. Before joining The New Yorker, he was the film critic at New York magazine for twenty years; his writing has also appeared in The Atlantic, The New York Review of Books, and The New Republic. He is the editor of “Awake in the Dark: An Anthology of Film Criticism, 1915 to the Present” and the author of “American Sucker”; “Snark”; “Do the Movies Have a Future?,” a collection that includes his film criticism from the magazine; and “Lit Up,” a study of high-school English teaching. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Singer, songwriter and film & TV composer Tawiah and bassoonist Linton Stephens join Jeffrey Boakye and Anna Phoebe as they add the last five tracks in the current series. Love and longing feature prominently, be it for a distant homeland, a parent to a child, or infatuation. But the curtain rises to a famous march representing the forces of darkness in the evil empire.Add to Playlist returns for a new series towards the end of May.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:The Imperial March (Darth Vader's Theme) by John Williams Maria from West Side Story by Leonard Bernstein & Stephen Sondheim Boricua en la Luna by Roy Brown Orange Moon by Erykah Badu Mother and Child Reunion by Paul SimonOther music in this episode:Nut Rocker by B. Bumble & The Stingers Mars by Gustav Holst Dance at the Gym from West Side Story by Leonard Bernstein Vietnam by Jimmy Cliff

The Quadraphonnes, Portland’s all-women sax quartet, will perform the music of the eccentric artist Moondog at the Alberta Rose Theater on March 7. Moondog was a blind street musician in New York City who worked with some of the biggest names in music in the mid-20th century, including Philip Glass, Leonard Bernstein, Charlie Parker and Benny Goodman. We’ll hear more about the show and get an in-studio performance from the quartet: Mieke Bruggeman on baritone saxophone, Chelsea Luker on alto and soprano saxophone, Michelle Medler on tenor saxophone, and and Mary-Sue Tobin on alto and soprano saxophone.

Alexander's dad loved convertibles and dove them with style. Since dad was Leonard Bernstein does it really matter that he had it all wrong? Click and Clack take on a great American composer(and lose!) on this episode of the Best of Car Talk.Get access to hundreds of episodes in the Car Talk archive when you sign up for Car Talk+ at plus.npr.org/cartalkLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy