Podcasts about Ludwig van Beethoven

Classical Magic EZkeys MiDi Team ARCADiA | 21 September 2026 | 16.90 MB Hundreds of years after the likes of Chopin, Bach and Beethoven first wrote their masterpieces with ink […]

From a young age, Joaquín Soffredini stood out in music and singing. He was awarded with grants throughout his career in recognition of his talent by the “Fondo Nacional de las Artes” and the “Fundación Beethoven” among others.He perfected his skills as a countertenor in Buenos Aires with renowned teachers such as Ricardo Yost and Marilú Anselmi, in addition to studying chamber music with Mónica Cosachov.His talent led him to play the role of Orpheus in Gluck's opera “Orfeo ed Euridice” and a few years later, to be part of the play “Espectros” (H. Ibsen) alongside the famous actress Ingrid Pelicori and Walter Quiroz.In musical theatre, he shone in “El Ave”, a show produced by Linda Peretz, under the direction of the talented Julián Vat, in which Joaquín was acclaimed by critics.On the international stage, he made his debut in Paris in 2019 with a successful tour along France, followed by performances in England, Italy and Portugal.In 2021, he composed two songs for the French film “Down in Paris” and was awarded in London as “Best Classical Singer” at the “Stars of the Albion” festival.In 2024 Joaquin spent most of his time working on his new songs, composing, producing and recording. He also created its own music videos for some of his own compositions.In 2025, he received an award for his professional achievements. This award was presented by "Madrid Magazine" in Spain. “Premio a la trajectoria professional”https://joaquinsoffredini.com/https://www.instagram.com/joaquinsofredini/Book a free discovery call with me! We can spend an hour looking at your creative career. You deserve to thrive, and your artistry matters. https://calendly.com/jennet/thmMake sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review! Thanks for joining me on Crushing Classical! Theme music by DreamVance.I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a discovery call from my website.  https://jennetingle.com/work-with-meI'm your host, Jennet Ingle. I love you all. Stay safe out there! 

Acclaimed Toronto pianist Stewart Goodyear has been described as one of the finest pianists of his generation. This week, he opens the Calgary Symphony Orchestra's Classics season with Edvard Grieg's Piano Concerto in A Minor. Ahead of the performance, Stewart sits down with Tom Power at the piano in the Q studio to talk about what first sparked his love of the instrument, why he considers Beethoven his therapist, and why classical music was, in his words, the “wildest music” he had ever heard.

ED MOTTA é cantor e compositor. Ele vai bater um papo sobre sua carreira, a fama, suas coleções de discos. O Vilela já assistiu a um show do Beethoven.

¿De dónde surge realmente la inspiración de los grandes compositores?El Dr. Manuel Sans Segarra y el musicólogo Oriol Pérez Treviño reflexionan sobre el misterio de la creación musical, la inspiración y su posible conexión con la Supraconciencia.A través de compositores como Bach, Beethoven, Brahms y Puccini, exploran por qué algunas obras parecen trascender el tiempo y qué podría existir detrás de ese impulso creativo que transforma una idea en una obra inmortal.

Glasbeni utrip, 16. 9. 2026, piše Maruša Frelih. Letošnji Festival Ljubljana je bil tudi v znamenju prvovrstnega pianizma – poleg redne gostje, znamenite Marthe Argerich, sta nastopila še vrhunska pianista mlajše generacije Bruce Liu in Yuja Wang, kot zadnja na tej biserni ogrlici pa še gruzijska pianistka Khatia Buniatishvili. Na oder Gallusove dvorane je stopila v družbi Berlinskih simfonikov pod taktirko islandskega dirigenta Gudnija Emilssona. Koncert je bil že nekaj časa razprodan, zanimanje zanj pa veliko. Razprodana dvorana je tako dobila svoj odgovor že po prvih klavirskih taktih – pravzaprav je žareča energija na oder privela že s samim prihodom Kathie Buniatishvili. Pianistka se je predstavila s priljubljenim Prvim klavirskim koncertom Čajkovskega in naravnost blestela. Igro tovrstnih interpretov je težko ubesediti – tehnična brezhibnost, odrska prezenca ter dih jemajoči liricizem – vse je izhajalo iz neke skoraj neverjetne danosti. Izjemni so bili kontrasti – mehkobna koprena piano odsekov, ki poslušalca drži na nitki, občutek, kot da se je ustavil čas in da med vsemi strahotami sveta obstaja le še ta mehurček nežnosti, pretanjenosti in lepote. Na drugi strani pa ognjevitost, ki je izbruhnila v silovitih pasažah in se preobrazila v skoraj neukrotljivo moč. Ko je igral le orkester, je z gibi telesa frazirala in se gibala z njim – kot nekakšen drugi dirigent. Posebej izrazit je bil prehod v vrhunec tretjega stavka, ki se je izkazal tudi za dramaturški vrhunec celotnega dela. Z gesto rok se je obrnila proti orkestru, kot bi vodila nevidno nit energije, in jo nato spustila v poslednje bravurozne takte. Stoječe ovacije so bile pričakovane, pianistka pa je občinstvu podarila še dva dodatka. Zdi se, da ima Buniatishvili sposobnost, da njen nastop postane skoraj gledališki dogodek, vendar pa tu ne gre zgolj za teatralnost ali golo željo po učinku. Njena neposrednost vre iz umetniških globin, zato na odru ne deluje oddaljeno, kot nekdo, ki pripada drugemu svetu – čeprav bi ob njenem igranju pomislili, da zares prihaja z drugega sveta. Berlinski simfoniki so se ob njeni igri izkazali za precej zanesljive sopotnike, čeprav so se mestoma ozirali za pianistko, ki je bila vsekakor neizprosni vodja te umetniške odprave. Kljub temu da njihove igre ne bi ravno kovali med zvezde, so solistko vselej podprli v ključnih trenutkih Koncerta. Urok pa je skoraj povsem nehal delovati ob njihovi izvedbi Beethovnove 7. simfonije, ko se je le ta iz stavka v stavek vse bolj spreminjala v nekakšno zvočno kuliso. Kljub vidni angažiranosti dirigenta Gudnija Emilssona, ki je z muzikalnimi gestami želel od izvedbe nekaj več kot le zbrano in vneto prebiranje Beethovnove partiture, ni uspel uresničiti idej, ki bi nosile poseben pečat dirigenta. Ustvarja se občutek, da se danes pozablja, da so velika, poznana dela lahko past – občinstvo primamijo v dvorano, vendar ne brez posebnih zahtev po vrhunski izvedbi. Če je torej Khatia Buniatishvili pokazala, kako lahko interpretacija poslušalca zadrži na robu sedeža, je Beethoven ostal udobno v naslanjaču.

Året 1989 står ut i modern europeisk historia. På mindre än ett år förlorade de kommunistiska regimerna i Polen, Ungern, Östtyskland, Tjeckoslovakien, Bulgarien och Rumänien sitt maktmonopol. Folken reste sig och Moskva ingrep aldrig.De kommunistiska regimerna hade etablerats hårdhänt i länder som Röda Armén erövrat under andra världskriget. Frihetsvågen 1989 blev möjlig genom en kombination av långvarig ekonomisk stagnation, regimernas förlorade legitimitet, ett uthålligt civilsamhälle och ett avgörande politiskt vägval i Moskva.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med Leos Müller, professor i historia vid Stockholms universitet. Han har skrivit boken Europas vändpunkter – 1492, 1914, 1989.Vid konferenser i Jalta och Potsdam förhandlade andra världskrigets segrarmakter om efterkrigsordningen. I Jaltas deklaration om det befriade Europa åtog sig de allierade att verka för representativa regeringar och fria val. I praktiken blev Röda arméns militära närvaro avgörande för maktutvecklingen i stora delar av Öst- och Centraleuropa.De kommunistiska partierna var efter kriget för svaga för att vinna fria val på egen hand. I stället skaffade de sig med Moskvas stöd stegvis kontroll över statsapparaten och slog ut politiska motståndare. I slutet av 1940-talet hade Polen, Tjeckoslovakien, Ungern, Rumänien och Bulgarien blivit kommunistiska enpartistater under starkt sovjetiskt inflytande. DDR bildades 1949 i den sovjetiska ockupationszonen i Tyskland.Under 1940-talets slut och 1950-talets början konsoliderades makten med stalinistisk brutalitet. Skådeprocesser och utrensningar drabbade både civila dissidenter och partimedlemmar som misstänktes för bristande Moskvatrohet. Jordbruket tvångskollektiviserades och ekonomierna underställdes en strikt planekonomi med ensidigt fokus på tung industri. Samtidigt byggde hemliga polisorganisationer som östtyska Stasi och rumänska Securitate upp massiva nätverk av informatörer som genomsyrade vardagslivet med ständig övervakning.Trots den hårda repressionen upphörde motståndet aldrig helt. Östberlinarna reste sig 1953, den ungerska revolten bröt ut 1956 och Tjeckoslovakien försökte 1968 genomföra reformer under parollen "socialism med ett mänskligt ansikte". Dessa försök krossades dock snabbt och våldsamt av sovjetiska stridsvagnar under Brezjnevdoktrinen, vilken gav Moskva rätt att militärt ingripa mot varje hot mot det socialistiska systemet. När den oberoende fackföreningen Solidarność växte fram i Polen 1980 tvingades regimen svara med undantagstillstånd och massarresteringar för att hålla fast vid makten.Att revolutionerna 1989 lyckades där tidigare uppror misslyckats berodde på en samverkan mellan strukturella kriser och nya politiska förutsättningar. Ekonomiskt präglades östblocket av kronisk varubrist, teknologisk eftersläpning och växande skulder till västvärlden.När Michail Gorbatjov tillträdde som Sovjetunionens ledare 1985 inledde han reformprogrammen glasnost och perestrojka. Framför allt signalerade Moskva att man övergivit Brezjnevdoktrinen och inte längre tänkte ingripa militärt för att rädda satellitregimerna. Tillsammans med ett alltmer organiserat civilsamhälle, underjordisk litteraturspridning och ett internationellt ramverk genom Helsingforsavtalet 1975 bröts den politiska apatin.Bild: Berlinmurens fall 1989. Bilden visar öst- och västtyskar vid Brandenburger Tor, återgiven på en permanent offentlig dokumentationsvägg i Berlin. Foto: Lear 21, CC BY-SA 3.0, via Wikimedia Commons.Musik: Ludwig van Beethovens nionde symfoni, fjärde satsen med ”Ode an die Freude”, i en inspelning från 1956 under dirigenten Jascha Horenstein, med Wilma Lipp, Elisabeth Höngen, Julius Patzak och Otto Wiener. Public Domain Mark 1.0, via Internet Archive.Klippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

Hello, and welcome to Entangled! I'm your host Jordan Youkilis, and today I'm joined by Sean McCann, host of the Wake the Dead podcast. Today's episode focuses on Sean's discovery of “The Fidelio Experiment” in Stanley Kubrick's film Eyes Wide Shut. We're joined in this episode by guest co-host and Kubrick expert, John Coffey.In this conversation, Sean describes how his life's journey led him to the philosophy of anarchy, the reality of the occult, and the art of photography. He describes how this led to his study of director Stanley Kubrick, and the consciousness-expanding nature of psychedelics.We then discuss MK-Ultra, Nicole Kidman's character Alice in Eyes Wide Shut, and trauma-based mind control. Sean explains how the documentary Room 237 unlocked another level of understanding of the film for him, as he recognized that Helena was stolen from the toy store at the end of the film.We discuss Project Monarch and the genetic transfer of memories. Sean explains why butterflies are used to symbolize multi-generational, Monarch, mind-controlled slaves, as it takes three generations of monarch butterflies to complete their migratory journey.We then dive into Sean McCann's “Fidelio Experiment” – his discovery that Eyes Wide Shut synchronizes with itself (and Kubrick's other films) every hour, on the hour. Sean argues this is evidence that 20 minutes of the film was never removed, and that Kubrick himself may have intentionally created that rumor.Sean describes the connection between the password “Fidelio” in Eyes Wide Shut and the music of Beethoven in A Clockwork Orange. Sean then provides live commentary as we play the “Fidelio Experiment”, starting Eyes Wide Shut simultaneously at the zero, sixty, and one hundred twenty minute marks.Sean, John and I discuss the casting of Nicole Kidman and Tom Cruise as a recognition of both actors' real-life involvement in human trafficking. Sean explains Kubrick's use of non-submersible units rather than dialogue in his film construction. He describes the tesseract as an occult symbol for mind-control slavery.We consider how Kubrick used non-submersible units in his films to expose the cabal, and in his artwork, gave humanity the weaponry needed to bring down the cult. Sean then provides commentary over his ten-screen “Fidelio Experiment”, with three Eyes Wide Shut screens played in tandem with seven other Kubrick films. We discuss Kubrick's interplay of music, dialogue, and time.From there, Sean, John and I discuss how organized crime in the material realm mirrors the hierarchy of the spiritual realm. Sean explains how ancient child sacrifice to Tanit has continued to present day, including via the circumcision of babies. We end the conversation considering demonic invocation, and the nature of moon-children conceived at the Satanic rituals portrayed in Eyes Wide Shut.Recorded: 07/13/26. Published: 08/25/26.Find Entangled podcast here: https://www.youtube.com/@Entangled-podcasthttps://podcasts.apple.com/us/podcast/entangled/id1596157035https://entangledpodcast.substack.comhttps://www.facebook.com/jordan.youkilisPlease donate to Occult Kubrick!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://onegreatworknetwork.com/sean-mccann/donate/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Make checks payable to 'Sean McCann' & send to:Sean McCann, PO Box 93, Oberlin, OH 44074BTC (bitcoin) address: 3Ptmi463Pu6HH1duop7rCKaxBriQkb4ina⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/wakethedead⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.paypal.com/paypalme/seanmccannabis⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit Sean McCann's store!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://wakethedead.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find Sean McCann on X:⁠⁠⁠⁠https://x.com/SeanWakeTheDead⁠⁠⁠⁠

Ehrhardt, Mischa www.deutschlandfunkkultur.de, Zeitfragen

Deze hele week komen er allerlei prinsen langs in onze podcast. Vandaag Maximiliaan Friedrich, voor wie Beethoven als tiener de drie Kurfürstensonaten schreef. Je hoort twee rustige delen hieruit. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

An emotional hour, on the precipice of big changes (which have now already happened!). Look for the new episode on Friday morning on all platforms. The full  tracks of what we played (and bonus material) here: https://bit.ly/4hceOt8

Music to your ears?Ludwig van Beethoven is recognized as one of the greatest composers of all time. But did you know that he wrote five sonatas and his famous Ninth Symphony while completely deaf? The secret to his success was his passion for music. That and a whole bunch of hard work and dedication.As parents, we may not have the musical genius of Beethoven, but we can still create wonderful harmony within our homes. Begin by providing your son a consistent tempo of training, and a steady melody of encouragement. Add to that an upbeat rhythm of physical fun, and the vibrato of adventure. The resulting chords of growth will prepare your son to perform his own creative solo. And in doing this, his life will be a lasting crescendo that brings glory to God.For more encouragement and parenting advice, visit Trail Life USA or RaisingGodlyBoys.com.

By age twenty-five, Vijay Gupta had lived several lifetimes: he played Carnegie Hall at eight, studied at Juilliard and Yale before most had finished high school, joined the Los Angeles Philharmonic at nineteen, gave a celebrated TED Talk seen by millions, and launched a nonprofit. But behind the accolades was estrangement, addiction, and a private unraveling. In his unflinching memoir: Restrung, Vijay describes, with breathtaking and heartfelt clarity, his journey of breaking apart and remaking a self. Today, we'll explore some of that journey. Together, discussing what he's learned about the possibility of moving from fear, emptiness, and isolationTo love, meaning, and deep connection. These learnings haven't come easy. As a boy, Vijay was raised between the strict devotion of Bengali immigrant parents and the ruthless demands of the conservatory. He grew up navigating the world of elite orchestras, Found himself in the depths of burnout, and ultimately experienced an unexpected reawakening—where he discovered that the music he'd spent his life studying was seen not as a curio of high culture or mere entertainment, but a lifeline of connection—most vividly in Skid Row, where people living through addiction, homelessness, and incarceration heard it as survival itself. When these audiences encountered the music Vijay would play, They often spoke to how they saw their own lives reflected in the stories of the composers: the rage of Beethoven, the fragility of Schumann's mind, and the plight of Handel—who wrote Messiah bankrupt, ill, and broken, yet transformed despair into an enduring Hallelujah.Vijay's writing, and the work he is doing in the world,Unsettles assumptions about success, And beautifully illuminates how art can restore not just audiences, but artists themselves.For more on Vijay, his music, memoir, non-profit Street Symphony, live events and other offerings please visit vijaygupta.comDid you find this episode inspiring? Here are other conversations we think you'll love:On Love, Storytelling, and Radical Curiosity | Baktash AhadiOn Soul Work for Times of Uncertainty | Francis Weller On How the Arts Transform Us | Susan Magsamen & Ivy RossUpcoming opportunities to learn with Joshua:Learn more about Joshua's new LIVE 6 week course: Unlocking Creativity. Limited spots are available. Course begins on October 11th, 2026.Enjoying the show? Please rate it wherever you listen to your podcasts!Thanks for listening!Support the show

Ross Barkan got fired for it. Jason Arday resigned over it. Claudine Gay lost Harvard because of it. Brian Frye, a Tulane law professor and the legal academy's one and only defender of plagiarism, says nobody can explain why it's wrong in the first place. He joins Noam, Dan, and Periel to make the case: why the Gay affair was "a joke," why Arday's real problem was never plagiarism, why Barkan's readers didn't care, and why comedians police joke theft better than any court could. Also: did Amazon rip off the Comedy Cellar's sign? What's a byline worth when Claude wrote the prose? And, days before the 25th anniversary of 9/11, memory, overreaction, and Mayor Mamdani. 0:00 Dan's back from Vegas, and a fan letter about the theme song 3:31 Did Amazon rip off the Comedy Cellar's sign? (Plus the cease-and-desist Grand Prix) 11:57 Ross Barkan, joke stealing, and the plagiarism skeptic's case 20:28 "The only capital scholarly offense": Claudine Gay, a fourth-grade Beethoven report, and who owns an idea 32:31 Why Barkan got fired: editors, links, and the Al Franken theory 38:04 Arday, the speed of light, and who plagiarism norms are for 42:53 AI writing: 100% on Pangram and "the burden of banality" 51:52 9/11 at 25, and Mamdani AI-generated

On 11 April 1809 Thomas Cochrane, RN, made one of the most famous assaults in British naval history. At the Battle of Basque Roads – at which he destroyed much of the French Atlantic Fleet – he detonated an explosion vessel so powerful that it is still being spoken about today. This is a special and different episode of Travels Through Time. In it Peter Moore narrates the opening to his new book, A Dangerous Game: Thomas Cochrane's Life on the Edge. This illustrated excerpt features on the audiobook from Penguin, which is narrated by Ric Jerrom. Find out more and download A Dangerous Game on Audible. And read more about Thomas Cochrane on Unseen Histories. Show Notes Scene: 11 April 1809, Basque Roads Anchorage, France. People/Social Presenter: Peter Moore  Producer: Maria Nolan Theme music: Egmont by Ludwig van Beethoven.

Ross Barkan got fired for it. Jason Arday resigned over it. Claudine Gay lost Harvard because of it. Brian Frye, a Tulane law professor and the legal academy's one and only defender of plagiarism, says nobody can explain why it's wrong in the first place. He joins Noam, Dan, and Periel to make the case: why the Gay affair was "a joke," why Arday's real problem was never plagiarism, why Barkan's readers didn't care, and why comedians police joke theft better than any court could. Also: did Amazon rip off the Comedy Cellar's sign? What's a byline worth when Claude wrote the prose? And, days before the 25th anniversary of 9/11, memory, overreaction, and Mayor Mamdani. 0:00 Dan's back from Vegas, and a fan letter about the theme song 3:31 Did Amazon rip off the Comedy Cellar's sign? (Plus the cease-and-desist Grand Prix) 11:57 Ross Barkan, joke stealing, and the plagiarism skeptic's case 20:28 "The only capital scholarly offense": Claudine Gay, a fourth-grade Beethoven report, and who owns an idea 32:31 Why Barkan got fired: editors, links, and the Al Franken theory 38:04 Arday, the speed of light, and who plagiarism norms are for 42:53 AI writing: 100% on Pangram and "the burden of banality" 51:52 9/11 at 25, and Mamdani AI-generated

Sometimes humility is appropriatemore than we think. The post Beethovens Piano appeared first on Key Life. To support this ministry financially, visit: https://www.oneplace.com/donate/1543/29?v=20251111

durée : 01:29:05 - par : Aurélie Moreau - L'art du chef d'orchestre Klaus Tennstedt se caractérise par une remarquable assimilation de l'enseignement traditionnel germanique, soutenue par une sensibilité très contemporaine. Aujourd'hui : Wagner, Mahler, Beethoven, Dvořák et Strauss. - équipe : Cécile Bonnet des Claustres, Yuthou-Diego Hak-Lopes - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Grieg's Peer Gynt suites are among the best-known and best-loved works of classical music in the world. They are practically embedded into popular culture, being used in a dizzying number of cartoons, advertisements, and films. In the classical music world, as with Beethoven's 5th symphony, they have almost become a cliché, and they are often performed on so-called Pops concerts. The two big hits from Peer Gynt, Morning Mood and In the Hall of the Mountain King, are instantly recognizable to the general public, even if they don't know who wrote the music or where it comes from. And where all this music comes from is really interesting, and is going to be one of the main topics of this show. Because the famous music from Peer Gynt comes from the two suites that Grieg took from his massive score of incidental music to Henrik Ibsen's play in verse, Peer Gynt. The two suites together take about 45 minutes to perform, but Grieg actually wrote an extra hour's worth of music! He then extracted, for his suites, the music that he felt would stand on its own without the text, and this was quite a good decision, as they are certainly his most popular pieces and have etched his name into the classical music pantheon forever. But what about the rest of that music? What about the play itself? Today, on this Patreon-sponsored episode, we'll tell the story of the origins of Peer Gynt, both from Ibsen and from Grieg, and then we'll go through the nearly 2 hours of incidental music, most of it in a bit of a cursory way (which frankly is perfectly appropriate for Grieg, whose music abounds with naive simplicity and gorgeous tunes), but all the way through we are going to tell the wacky, wonderful, and way-ahead-of-its-time story of Peer Gynt, all through the music that Grieg wrote. On the show today you'll hear some of the most famous music in the world, and then some music that only the most passionate of connoisseurs have encountered. So, in essence, my kind of show. Join us!

Don Wildman examines the mysterious illness behind a composer's untimely death, investigates a daring wartime rescue of 500 POWs and recalls an out-of-this-world discovery that changed what scientists knew about the universe. Hosted on Acast. See acast.com/privacy for more information.

One of the world's greatest living pianists, Mitsuko Uchida, talks to John Wilson about her cultural influences and her career in music. Born in Japan, and a British citizen for over 25 years, she is renowned for her interpretations of work by Schubert, Mozart and Beethoven, and for the intellectual rigour of her approach to musical manuscripts. She has won two Grammy Awards, three Gramophone Awards, the Praemium Imperiale, presented by the imperial family of Japan, and the Gold Medal of the Royal Philharmonic Society. She was made a Dame in 2009 for her services to music. Producer: Edwina Pitman

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express, Host Miko Lee is going Beneath the Surface — with two incredible artists, Margaret Cho and Masaki Fujihata. Both artists have been working in their fields for decades. Margaret Cho — stand-up comedy, sitcom, filmmaking, writing. Masaki Fujihata — a pioneer in new media art.And here's what they have in common: they've both shifted with the times… but never lost their own voice. Their vision has stayed singular, even as the world around them changed. Listen in to APEX Express   Check out: BeHere / 1942: A New Lens on the Japanese American Incarceration at the Oakland Museum from Friday, September 18, 2026—Sunday, December 27, 2026 Masaki Fujihata website Choligarchy at Berkeley Rep, September 15-19th, 2026  Margaret Cho website Interweaving: Indo-Persian Exchanges Interweaving: Indo-Persian Exchanges at Oakland Asian Cultural Center, September 11, 2026 7pm Artists featured: arjun-verma.com www.pezhham.com  MazdakAlipour.com emanhashimi.com   Show Transcripts [00:00:00] Opening: 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.   [00:00:34] Miko Lee: Tonight on Apex Express, I'm going beneath the surface with two incredible artists, Margaret Cho and Masaki Fujihata. I'm your host, Miko Lee.   [00:00:57] These are two artists who've been working in their fields for decades. Margaret Cho, stand-up comedy, sitcom, filmmaking, writing, and Masaki Fujihata, a pioneer in new media art. And here's what they have in common. They've both shifted with the times, but they never lost their own voice. Their vision has stayed singular, even as the world around them have changed. So stick with me. First up, my conversation with Margaret Cho   [00:01:29] Welcome Margaret Cho to Apex Express.    [00:01:32] Margaret Cho: Thank you.    [00:01:34] Miko Lee: I wanna start with my question I ask most of my guests, which is who are your people and what legacy do you carry with you?    [00:01:41] Margaret Cho: I think my people are Asian American, my people are queer, my people are all ages, my people are progressive, my people have hope for the future. That's what I'm hoping. I think that's it, and that's who I am too.    [00:01:56] Miko Lee: Thank you. You started stand-up so young in this very Bay Area, and I think you started at age 14. I'm wondering what's your earliest childhood memory of being a performer?    [00:02:08] Margaret Cho: My earliest childhood memory of being a performer was I was actually a singer. I was a singer in a band of children, and I was probably maybe five years old. We were on a show on KTVU. I believe it was called Asia Now, and it was filming in the studio and I wouldn't stop waving at my mother, who was just off camera. And after the performance the band leaders asked me not to come back. Aw. I remember that because I could not stop waving at my mother and so I kept breaking that fourth wall. That was my first memories of performance.   [00:02:47] Miko Lee: And what did that feel like to you?    [00:02:50] Margaret Cho: I didn't really get the idea. I didn't really understand television exactly quite. I didn't understand why we were performing. I didn't understand why I couldn't say hi to my mother while I was performing. I didn't have a real comprehension of like even like rejection of what that meant or even performance or what that meant or television. So all these things that I come to learn about very well, rejection, performance, and television is my whole life. But back then I didn't understand the importance of all those things.    [00:03:22] Miko Lee: But there must've been some kind of zhuzh for you that you said, “Ooh, I wanna keep doing this,” right?    [00:03:28] Margaret Cho: Yeah, I think so. Much later though, you know, I did perform as a pianist. I was a classical pianist. I was also a ballet dancer. So those things required performance, which actually would make me really, really nervous, I think because in piano you're playing a classical piece. You're playing Beethoven, you're playing Mozart. So if you make a mistake, everybody's gonna know. Also with ballet you're choreographed and you're in as a troupe. If you're doing choreography with a bunch of other people- If you make a mistake, everybody's gonna know. But with comedy, mistakes are a little bit more of, something you can gloss over a bit. There's a little more control there, a little more room for chaos, which I absolutely need, I think, as a performer.   [00:04:22] Miko Lee: Mm, this is interesting. You've already described some of the different types of performance that you do, and you've also done so many things in your life. But I'm wondering if there is a type of art form that still makes you nervous.    [00:04:34] Margaret Cho: Music. I think playing an instrument in front of people, I think because when I was a child and would perform these recitals, I would be so nervous. There were a couple of times in recitals where I had to start over, you know? When you're, like, eight or nine years old and you make a mistake and have to start over, and this audience is, like, hundreds of people, it's, like, really mortifying. I still carry that. I play m- numerous instruments, and I really dread playing them in public. What helped me a little bit is busking, which I did quite a lot of over, over the years because when you're playing out on the street, there's a… I don't know. It's like people are not really paying attention to you, and therefore you're kind of in this divide of I'm in performance, but I'm also kind of not. So that helped. In general, I refrain nowadays from when I do music, I don't usually play my instrument along with the band. I usually just focus on singing. Even that is quite nerve-wracking. Singing and doing music still, even though I've been doing it really my whole life, there is something about it that, that quite, um… because when you're singing, you're actually also the instrument. So there's a bit of more required. That's why I always prefer comedy. Your quality of voice doesn't matter because the music you're making doesn't have to sound pleasing.    [00:05:59] Miko Lee: And when you were busking, what instrument were you playing?   [00:06:02] Margaret Cho: Guitar. Ah. So I would play guitar, sometimes a six-string banjo, sometime, I'd play all manner of sort of guitar-necked instruments, which can go from, guitar to mandolin to a cello that's, it has a guitar neck, so I can play- Ah that as well. So all those things, I cheat at everything 'cause I have a guitar neck.    [00:06:21] Miko Lee: I love that. The improv just comes out of you in all different ways, I guess.    [00:06:27] Margaret Cho: Yeah.   [00:06:27] Miko Lee: So you have been a path maker, rule breaker in so many aspects of your life, from comedy obviously, and producing and starring in the first Asian American TV show, actor, fashion maven, author, rapper, podcast host, and out and proud queer role model. I'm wondering, what's a career dream that you aspire to?    [00:06:46] Margaret Cho: Ooh, well, I wanna be an old lady crime show, like Murder She Wrote. I wanna just solve crimes. I love, like, a British crime show, like an old lady solving crime. Like a Prime Suspect, like a Helen Mirren. I love that kind of genre of television, and so I would love to mature in that 'cause, like, it's so interesting and also so rich and, I feel really drawn to it. So that's something that I haven't… I'm a participant in a lot of those types of shows. I'm on a show called Bull Trent, which is very much that, which is really cool. And then I've been on Law & Order, which is the ultimate, SVU is the ultimate sort of crime show. So I would love to engage in that genre more.   [00:07:31] Miko Lee: Ooh, are you developing that on your own?    [00:07:34] Margaret Cho: I'm not, but I am participating in lots of other people's versions of it. They're not out yet, so they will be coming, forthcoming.    [00:07:44] Miko Lee: Coming soon, and then your own version starring you. Yes. The- Yeah … modern Murder She Wrote. I would love it. In what town would this be? In San Francisco or in-    [00:07:53] Margaret Cho: Oh, San Francisco would be great. Yeah. San Francisco or, like, Marin.    [00:07:56] Miko Lee: Oh, God. That would be really funny.    [00:07:58] Margaret Cho: Sausalito. Sausalito would be so fun. You know, Napa Valley. You know, something, like, very, like, th- this community that looks very, like Saint Helena, like Calistoga, s- community that's very quaint and peaceful and, like, kind of like foodie oriented and, like, very, you, you know, you think very upscale, but actually there's a lot of dirty dealings going on underneath the surface.   [00:08:20] Miko Lee: The wine country Murder She Wrote.    [00:08:23] Margaret Cho: Yes, I love it.    [00:08:24] Miko Lee: I would watch that. That's fun. So you also have expressed your art in so many ways. Your body is filled with so many tattoos. I think you have over 70. Which of your tattoos evokes the strongest emotion for you?    [00:08:38] Margaret Cho: Well, right now I'm in this, like, trend only getting art from Korean artists, and these are guys. People from Korea who are tattooing now are really the best in the world. They are the state of the art. Like, their eye and their talent is just so innovative. There it's semi-illegal, so they do it under duress, you know, and they have to sort of do all these different things to do it. But their ability to just visualize things that are just, that seemed impossible, you know, these miracles on skin that they can do. The art now I'm really resonating with. There's an artist now that works exclusively in Dancheong, which is a kind of the color scheme of Korean temple art. And so all of his tattooing reflects that. And so I'm working on a very, very large piece on my leg that is, all Dancheong, which you know, for me, like having had lots of different kinds of tattoo, like I had sort of Japanese traditional and a lot of American traditional, and a lot of just kind of different kinds of art. Now to just really delve into the art of my ancestors is quite powerful, and by being done by very young, very skilled tattoo artists from Korea. You know, so I get to speak in Korean to them. We communicate in a language that is shared, that's ours, which is very different from the way that I've communicated with all of the other artists that I've had over my time as a tattooed person. So, um, yeah, tattooing for me, it's, it's all about Korea right now.    [00:10:21] Miko Lee: And what inspired your first tattoo?    [00:10:25] Margaret Cho: My first tattoo was done by Don Ed Hardy, who is a legendary Bay Area tattooer, also, an amazing guy and he was a friend of the employees of my father, who, my father owned Paperback Traffic, which is his gay bookstore just going in the 1970s. And so a lot of people were getting tattooed by Don Ed Hardy. They were getting full body suits in the '70s and '80s, and the, the, um, images, like, so on our refrigerator as a… When I was a child, my father would put up, um, the full body tattoos of these guys that worked for him. So that's what I would see every day. Instead of, like, our graded papers or, like, stuff that you usually have on a refrigerator, it was photographs of completely tattooed people. Um, and that really stayed with me. And so when I was ready to be tattooed, and this is, like, 2002, um, my father's employees and all of our, like, old friends took me down to see Don Ed Hardy, who was doing these body suits, and, he gave me my very, very first very large Japanese-inspired piece on my stomach and back. And that kind of started it off. I got the most painful, most difficult place in your body tattooed first, which is, like, basically your stomach, and your sternum, your chest. All those areas are really, like, those are the worst, and I got that over with. And so I realized, oh, I could actually keep on doing this. And I always knew that I would be heavily tattooed because of that.   [00:11:59] Miko Lee: So your first one you chose really big, not just like a small something. You got a really big one.    [00:12:03] Margaret Cho: Yeah.    [00:12:04] Miko Lee: Wow. Yeah. Just jump in, girl. Just jump in.    [00:12:07] Margaret Cho: Well, I just knew that was right, and I knew also this was probably, like, the only time that I would be able to get a very large piece from Don Ed Hardy, you know? Yeah. People know him, of course, from the clothing line- That's right … and the sort of Y2K influence. But he is so much more than that. His influence on tattooing is really significant. That was towards the end of his tattooing career. He didn't have many years where he kept doing it after, 'cause he explained to me that he absorbs the pain of people. Wow. And so he realized, like, that probably wasn't so good for him physically as he aged, I was really lucky to get what I got from him, which is a very, very large piece and a very important piece.   [00:12:51] Miko Lee: Amazing. And as you're talking about your childhood and growing up in the bookstore, it just makes me reflect on how your childhood was so unique and so interesting. Mm-hmm. And I'm wondering if today you were to make a television show about your childhood, how very different… With, with more artistic freedom. It would be so fun. It would be so fascinating. There's so many more streaming options than just the three networks that we grew up with. Yeah. So, what would that be like for you to do a TV show on your childhood now?    [00:13:23] Margaret Cho: I would love it. I mean, I would love to create that world, recreate that world, because, you know, we had the influence of, like, people who were doing a lot of very early body modification, meaning these full, full body tattoos, and, like, body piercing, which was such a different thing. I mean, in the 1970s we had the rise of Harvey Milk you know, and his assassination.    [00:13:44] Miko Lee: Mm-hmm.    [00:13:44] Margaret Cho: We also had the devastation of the People's Temple, which was all San Francisco people.    [00:13:50] Miko Lee: Yep, yep.    [00:13:51] Margaret Cho: It happened in Guyana, people don't realize this originated in San Francisco and came from there. All the people who died were San Franciscans, and Oakland, Bay Area people. This is our people. My parents actually rented the recently vacated People's Temple for my grandparents' 50th wedding anniversary. Wow. Like, crossing the police tape. To go in and have a Korean party, and then my mother's, “Lot of ghosts.” She saw all the ghosts.   [00:14:19] Miko Lee: Yeah, I'm sure.   [00:14:21] Margaret Cho: “Ghosts, ghosts, lot of ghosts. Well, ghosts don't really do anything. They just make food get cold very fast.” You know, like that kind of a thing. So it would be a great TV show, I think.    [00:14:32] Miko Lee: Ugh, I would watch that too. We're talking about your new show, Choligarchy, which is gonna be at Berkeley Rep, and I read that you said it brings you back to your roots as a political comedian. Can you share more about this?    [00:14:44] Margaret Cho: Well, I had the luxury of the Obama administration where I didn't feel like I had to fight so hard to be heard and seen as a queer Asian American woman, 'cause I worked on the Obama campaign, I worked on, getting people registered to vote in 2008 in Philadelphia. I worked on all these different things with Cal Penn in 2008 to assure a kind of future where we are gonna have something different, and then we did. And then so I got to spend about eight years where I could do dance, I could do music, I could kinda like drift into these other arenas of work that I hadn't been able to do because, before, had been, like, so much about fighting the Bush administration, so much about fighting what was going on. So now to be able to return to a thing that I'm very used to, like political commentary, where I'm really focused on using my voice to affect change and to create change, and it's really profound, you know? I love doing this show. It's got me thousands and thousands of death threats, which is also really terrifying and bizarre. I've always had a kind of very confrontational relationship with conservatives, but now it's escalated to the point of, like, oh, I actually do fear for my safety. But I think that it's worth it. The message is worth it, and I'm proud to do this show, and I'm very, very excited to bring it to very progressive Berkeley, which they're gonna hear it better than anyone. I do think Berkeley is even more progressive than San Francisco. So it's exciting.    [00:16:27] Miko Lee: Well, San Francisco is filled with tech bros now, so it's a very- Yeah … different vibe than when we were-   [00:16:32] Margaret Cho: That's right.   [00:16:32] Miko Lee: growing up. I'm wondering, I heard you say about how different it was during the Bush regime, which is actually relatively tame in retrospect compared to the fascistic times we're living in now. I'm wondering how different, now that you're going back to the kind of political roots, how different is it from that Bush time in your approach to your comedy?    [00:16:51] Margaret Cho: Well, Bush never descended into a cult. Bush never had the sort of magnetism as a person, to demand the cult-like sort of atmosphere that sort of exists now, where we have a leader who will gladly let all of his followers be on a decoy plane while he rushes away in a catering van. We think the decoy plane, that's really America. Like, the decoy– we are all, as a nation, on the decoy plane. He's happily content to let us all die to ensure his safety. It's like they're, and they're still gonna follow him after that. So that's a cult, you know? This is a different beast than we're dealing with just sort of patriotism or the idea of like xenophobia or the idea of wanting this kind of America that Bush wanted. Bush couldn't create that because he was not a cult leader, whereas now we have a bona fide cult and cult leader on a path to destruction.    [00:17:57] Miko Lee: So given this time that we're living in and how complicated it is, I'm wondering, especially as you're going on tour with this show, what brings you comfort and makes you feel connected to home when you're on tour or when you're away?   [00:18:10] Margaret Cho: Well, my dog is with me all the time, so that's really special. She'll be there at Berkeley. She's really, really amazing. I'm a big fan of social media. It's connecting with people on there, and people are encouraging me through there. There's a lot of points where I carry home with me. I'm also, at home on the road, because I've been traveling and performing for over 40 years, so it's a place that I feel a great deal of comfort in.    [00:18:35] Miko Lee: Because you mentioned social media, I'm just wondering, isn't that where the death threats are coming from, though, is social media? Or are you getting them in—   [00:18:42] Margaret Cho: Yes. But I'm also get, I get them on my phone. I get them, like they—   [00:18:45] Miko Lee: Oh, you, they- Yeah … find your cellphone and contact you—   [00:18:47] Margaret Cho: Yeah.   [00:18:48] Miko Lee: directly? Wow.    [00:18:49] Margaret Cho: Yeah, I get them, like, you know… I'm also concerned about, I've been doxxed, you know, they threatened to kill my dog, and I'm like, “She's white. She's one of you. Why would you kill her?” It's kind of funny.   [00:19:01] Miko Lee: But you don't respond to any of these folks, right?    [00:19:04] Margaret Cho: No, you can't, because you just don't know what… I always think about, like, Melissa Hortman. They killed her dog. I don't wanna be another example of, like, MAGA lunacy. When you speak out and you are a symbol of what they don't want. They don't want women, they don't want people of color talking. When you are that you're really in the line of fire. That's why traveling works for me, I get to be very, very stealth and hidden. Um, and that's kinda also why I travel so much, is to be stealth. Mm. I get so much encouragement from social media. I don't wanna cut myself off from it. But yeah, you have to be careful.    [00:19:42] Miko Lee: So you feel like that balance outweighs it?    [00:19:45] Margaret Cho: Yeah, for sure.   [00:19:45] Miko Lee: And I'm wondering if you think there's something that's misunderstood about you?    [00:19:49] Margaret Cho: When I'm talking and people don't like what I'm saying, they will say, “Oh, look at this has-been talking again.” And I'm like, “I'm not talking because I think I'm a celebrity. I'm talking because I am alive, and everybody who is alive has the right to speak.” I think this is really important. I don't talk because I feel like I have a responsibility to talk because I represent anything. No, I talk because we should all be talking. We should all have a voice. I don't have a sense of importance about myself or who I am or what I do. I think that everybody should be talking, and now we should all be talking because now we are all on that decoy plane, and he will leave us to die. So I'm going to say something about it. People have a myth about celebrity that somehow it involves our ego, and that's why we feel compelled to have a voice. But I think we should all have a voice no matter who we are.    [00:20:41] Miko Lee: I've heard you call yourself the patron saint of outsiders. Can you talk about what that means to you?    [00:20:47] Margaret Cho: I think for me it means to be able to have, my queerness front loaded, my Asianness front loaded, my gender front loaded, all these things that I want to be able to talk to those who feel like they don't feel represented by mainstream culture, by white supremacy. If you have felt rejected or even just not included by society at large, I wanna hear your voice. I wanna hear your opinion, and I wanna know you.    [00:21:15] Miko Lee: And last question, why should folks go and see Oligarchy at Berkeley Rep?    [00:21:20] Margaret Cho: Oh, it's Choligarchy.   [00:21:20] Miko Lee: Choligarchy.   [00:21:22] Margaret Cho: It's my nation. It's my dictatorship. In my dictatorship, we have universal healthcare. In my dictatorship, we have a universal living wage. If we actually made the billionaires pay their share, if we actually stopped supporting Israel and Argentina, other countries which I don't know why we give them so much money, but we do, if we stop doing that, we stop supporting the billionaires, if we stop giving corporations handouts, we could actually have a universal living wage where everybody in this nation would just be able to just live. We could just live because we are American. We could just live. And then your work could be what you really wanna do. That would be such an important change to the way that we exist as Americans. And we could do that if we actually stopped giving b- bailouts to corporations, actually made billionaires pay their share, and stopped giving money to countries that are not ours. That's what my platform is. That's what I run on, and that's what I plan to do.    [00:22:35] Miko Lee: And folk can find out more by going to see the show at Berkeley Rep, and we'll put a link in our show notes. Thank you so much, Margaret Cho, for joining us on Apex Express.    [00:22:45] Margaret Cho: Thank you.    [00:22:46] Miko Lee: Next up, get a preview of an upcoming unique performance at Oakland Asian Culture Center. Listen to Sawaal Jawaab    MUSIC   [00:24:01] Miko Lee: That was Sawal Jawab with Arjun Verma, Eman Hashimi, and Pezhham Akhavass in Interweaving: Indo-Persian Exchanges, a one-night-only performance on Friday, September 11th at the Oakland Asian Culture Center. The concert's a rare opportunity for Bay Area audiences to experience the interplay of some of Asia's richest classical music traditions from India, Iran, and Afghanistan. Next up, we hear from two voices, multimedia artist Masaki Fujihata and Carin Adams, senior curator at the Oakland Museum. Masaki Fujihata is a world-renowned sound, installation, interactive, and new media artist. He's also a professor at Keio University. His work has been shown all around the world, and now it's coming to the Oakland Museum, opening September 18th and running through the end of December. The piece is called BeHere / 1942, A New Lens on the Japanese American Incarceration, and it's a new augmented reality work. So tune in to my interview with Masaki and Carin Welcome to Apex Express, multimedia artist Masaki Fujihata and Carin Adams, senior curator at Oakland Museum.    [00:25:13] I'm so happy to have you both with me, and we're talking about the new exhibit BeHere / 1942: A New Lens on the Japanese American Incarceration, which opens at the Oakland Museum from Friday, September 18th to Sunday, December 27th. So thank you so much for joining me. I wanna start with a question I ask all of my guests. I'm gonna start first with you, Carin, and then I'll go to Masaki, and the question is, who are your people, and what legacy do you carry with you?    [00:25:53] Carin Adams: Oh, wow. I think there are lots of different facets of my family and who I think of as my people. Um, I think in, in this work in particular, I'm really, um, thinking a lot about my grandparents, my, my mother's parents, and, um, my mom, who's turning 91 in, um, October, and, um, her and her siblings' experience, um, being incarcerated in Tule Lake. So- Mm … that, I think has, has a lot to do with wh- why I'm here, and thank you so much for having me.    [00:26:36] Miko Lee: Mm-hmm. Thank you so much. And Masaki, what about you? Who are your people, and what legacy do you carry with you?    [00:26:43] Masaki Fujihata: Yeah, in my case, my, career started with the computer graphics long time ago in the '80s, so I came in, uh, Bay Area and, uh, West Coast quite frequently to join a big, uh, conference and so on. But then in '90s, I was very many times to be invited to be in Europe, so-called media art, i- is so dominant. So my curiosity is about the visual arts plus computer technology. Then nearly 10 years ago, I started to play with augmented reality. I recognized AR is a very good technology to put the history in actual moment. So the title Be Here 1942 means, I try to call the people in the past in the present. After one of my friend, the professor at UCLA invite me to be in Los Angeles, then we started to focus onto the Japanese Americans' history. That was the first, a kind of coincidence, but it was, very interesting to me because, I was born in Tokyo and grew up here in Tokyo, so usually I didn't think about who is a Japanese. [00:28:10] Along with this production, I studied a lot, not only the racial problems, but also the identity, , not only the personal identity, but also identity of Japanese and also American. It's really difficult to understand what's is the identity in the America because so many different people are living together and of course there are several conflicts. This is very good study for me, through the new media technology and, through the meeting with the people. Some of them really had, severe experience inside the camp. I never had a chance to think about these opportunities. Then I really want to recreate what had happened in the 1942. That was my point of view for this project.    [00:29:08] Miko Lee: I'm wondering when you were growing up in Japan, did you learn about the Japanese American incarceration?    [00:29:15] Masaki Fujihata: Maybe, maybe, but a tiny. Most of the young students just thought, oh, this is the history, not mine    [00:29:27] Miko Lee: And did you… Were there kibei that were there? Cause I know there were a lot of Japanese Americans that had been pushed out and repatriated to Japan. Did you grow up knowing any of those people?    [00:29:39] Masaki Fujihata: Mm, not, not really. Not really. Um, how can I say? Mm, maybe this is the education, the Japanese education. They didn't talk much about the history. The first part is an ancient moment, is very, very, you know, impressive. But, at the end of the term, so the modern age usually passing very, very fast.    [00:30:10] Miko Lee: Oh, interesting.    [00:30:11] Masaki Fujihata: Yeah, so n- not only about, history between America and Japan, but also China and Japan.   [00:30:18] Miko Lee: Mm-hmm.    [00:30:19] Masaki Fujihata: We have very few knowledge in, on the context of, uh, history education. I mean—   [00:30:24] Miko Lee: So sort of World War II- I mean- and forward? From World War II—   [00:30:27] Masaki Fujihata: Yeah, yeah …   [00:30:28] Miko Lee: You didn't really learn about it?   [00:30:28] Masaki Fujihata: Yeah, modern age. Modern age. I believe this is very big problem in the education.    [00:30:35] Miko Lee: That's so interesting. So the first that you really learned about the Japanese American incarceration was during, when you started this project at UCLA? Is that right?    [00:30:44] Masaki Fujihata: Yeah, yeah. I know something about the history in the US, but when I started to do research, there are many details, and every people's history is very, very different. So the textbook of the history is just the surface- So that's why I wanted to show more the detail through a new media technology.    [00:31:16] Miko Lee: I read a quote from you that said, “My aim was to peer deeply into photographs to derive from them more than was visible on the surface.” Can you talk a little bit more about what that means to you?   [00:31:29] Masaki Fujihata: Yes, because, I started to think about to focus on the moment when they ride the bus. So then, of course, I did some research to read some oral history, but, most of them didn't tell about the moment because I think this was just one hour or two hours for waiting. I suppose they usually don't want to remember, and also they thought that this is not important day, then they forgot.   [00:32:04] Miko Lee: What was it about the bus that you were curious about?    [00:32:08] Masaki Fujihata: We planned to realize our project, to think about the beginning. What is the beginning? There, there are quite many novels and writings about the life in the camp because of, of course, this is so heavy. Four years in the camp is unbelievable. According to my research, some people said they thought the war will ends in three months. But in there they spend in the camp, over four years. So of course, this is a heavy story and also while in the inside the camp. There are some conflict between the first generation, second generation or American side or Japanese side. The beginning is, of course, the Pearl Harbor raid, but, the bus, suddenly one day the bus came into your town and you were asked to ride the bus, and before riding they didn't tell them where they are going. So so if it happened now, how can we behave? So this is my question. This is the beginning, and they didn't know what will happen in the future. And then in parallel, I did some research to see the photographs because, there are many documentary photographs were in the archive, in National Archive, and also Library Congress. I tried to, see the photography, but as I said, when see the picture, you know, the detail is telling a different story, against the comment. The comment is just they are lining up for riding a bus or something, or Japanese American families get together and waiting. Of course they have some name card. At last I found through one of small girl's eye, there is a reflection of the photographer. But, not only the photographer, there are two, three, or four more people standing with the cameraman. Then, of course I understand they are all Caucasians. They are not Japanese American people. So for the little lady, for the little girl, when she was surrounded by, white officer, perhaps military police, she has nothing to do. But on the surface of the photography, she's smiling. So this contrast is the beginning. So this is a problem about media, visual media. So then I really want to share this experience with the other audiences through the exhibition. That was my intention.   [00:35:18] Miko Lee: And had you seen the photographs from Dorothea Lange and Russell Lee prior to working on this project?   [00:35:25] Masaki Fujihata: Of course, I know these names because they are very famous,, documentary photographer, the magazine Life started to publish from the year 1933, it was hit, so popular. I was really surprised because they did the job to make a document for Japanese Americans, and there is over 4,000 pictures left in the archive. I saw all of these so many times, so I can tell each picture. I can tell what is the difference, between the Dorothea and Russell Lee. So each photographer has, different characteristics. But I really surprised because, Dorothea Lange's photography is very different from others. And—   [00:36:18] Miko Lee: And the government didn't like them. They locked them away for years because they were too real.    [00:36:25] Masaki Fujihata: Yeah, and because, Dorothea's photography is always associated with the object inside the photography. She tried to understand who is she, who, who is—-    [00:36:38] Miko Lee: Mm-hmm …    [00:36:39] Masaki Fujihata: and try to have a good relationship with the object. Most of the photographer, like a press cameraman, it's just go there, “Hey, smile,” and shot is their, you know, way of business. But Dorothea's way is very different, so sometimes, I can tell she is always calculating the distance from her to the object. I enjoyed very much to have a chance to see all of these details. Of course, another luckiness because all of these photograph were shot by the government, then all of these are now public domain. Even me from Tokyo, I can see so many photographs with high resolution. I think those are made after year 2000 because of the technology came in. Then now they are supplying 3,000 by 4,000 pixels. That's why I could enlarge and to see the reflection on the girl's eye. It's a coincidence, but also it's the evolution of computer technology from analog photography. So this is also interesting part to share with the audience.   [00:38:01] Miko Lee: Thank you. Carin, I wonder if you could talk about what an audience will see when they come in to see the exhibit.    [00:38:08] Carin Adams: The exhibition is going to happen inside and outside the gallery. So if people are visiting the museum coming up through our entrance on Oak Street, they will have an opportunity to enter the augmented reality application that Masaki has designed where they're, standing there grounded in, the architecture of the Oakland Museum. But they're also seeing people, dressed as if they were in 1942, waiting with their belongings and their family members. They'll be able to see the buses that lined up on Oak Street in '42. There was a civil control station that was across the street, and Dorothea Lange took some very famous photographs of people waiting with their belongings in front of their houses that, on the museum side of the street. Masaki has adapted the augmented reality that he first developed for Los Angeles for Oakland. So people on entrance onto our campus will have that experience, and then if they come into the gallery, then they'll really be entering into the gaze of these eyes. They'll be surrounded by very high resolution images that Masaki has blown up, to mural size. You're forced to encounter the people that were reflected in the eyes of the subjects that Lange photographed.    [00:39:45] Miko Lee: Thank you, and I know that in the collection, you've had these Dorothea photos for a long time, right, in the Oakland Museum's—   [00:39:53] Carin Adams: Yeah. The Oakland Museum is the holder of the Dorothea Lange archive, including some of her images of the incarceration. The Bancroft Library also has extensive holdings of her work and material , related to this history. And of course, Masaki did lots of research in the National Archive and Library of Congress.   [00:40:16] Miko Lee: Masaki, I know this is the second version of the show since you have opened it first at JAMM and at UC, with UCLA. Yeah. What was it like for you to recreate it for the Oakland Museum? How has that experience been?   [00:40:30] Masaki Fujihata: I'm very, very lucky to find OMCA. Mm-hmm. We started to think about the production in OMCA. I made a research through, of course Dorothy Lang's photography. Then there is a number of the street, 1117 Oak Street is the place where people apply their address and family name. The Civil Control Station is that address. I was very surprised because this is a street in front of the museum, and actually the other side of the street was the Civil Control Station where the bus came in. So this is exact place I really wanted to put my augmented reality models. So I was very shocked because I never think about the museum is a real place.   [00:41:24] Miko Lee: So it's truly a place-based piece of art because that is the history coming alive in that very spot.    [00:41:31] Masaki Fujihata: Yes. Yeah. So, all the projects start from the realization of augmented reality.    [00:41:39] Miko Lee: Mm-hmm.    [00:41:40] Masaki Fujihata: So augmented reality is a kind of tech term, but augmentation is adding some information rather than the first wa- surface or rather than the display. In this case, we are putting the happenings in the 1942 in present, and then try to make a contrast between now and the past. The exhibition inside the gallery is showing a kind of process of the research to make this augmented reality piece because for making the 3D model data, we invite many volunteers into a special studio. I have to direct them. I have to prepare some scenario for them. In some cases, you are the university students. Coincidentally, you met the professor, while waiting for the bus. This is a fiction I made. When I need to make a scenario, I really need a research what is possible, what is not possible. So then the photography help me a lot to make a small scenario.    [00:43:01] Miko Lee: How many volunteers worked with you on this?    [00:43:04] Masaki Fujihata: I think totally 64 volunteers.    [00:43:08] Miko Lee: Wow. That is amazing.    [00:43:10] Masaki Fujihata: Each one was asked to walking towards the point where the bus would come, and then the second part is waiting, and then the third part is just lining up for the bus. So there is three different scenario. Then each person appears three times. Then totally you will see nearly 200 people.    [00:43:37] Miko Lee: Wow. And I understand that you use, in order to utilize the AR, you use cameras that kind of replicate those used during the incarceration, and I'm wondering what made you decide to choose that?   [00:43:53] Masaki Fujihata: So I try to know the core idea of each technology, because the technology is usually used for capitalism. My manifest is liberate technology from capitalism. So technology has another dimension, not only for serving for the capitalism to make money for your life more rational, but the technology also can give you a chance, who are you? What is life? What is the world? So I really want to use the technology another dimension of the technology usually used by the companies, and capitalism. In this case, this project is really good because very nice photography was left in the archive. But imagine in the 1942, photography was a high technology. Very few technicians or rich people could have the camera. Now so popular everybody has a camera inside their mobile phone, but it was high tech. And now augmented reality is somehow popular technology, but no one didn't use the AR technology to think about what we are doing as an art. So I wanted to use augmented reality to, to think about what is our life    [00:45:32] Miko Lee: Ooh, that is so interesting. I really appreciate that. And I'm wondering because you've seen audiences go through the first exhibit, I'm wondering if anything surprised you by audiences that have seen it and what, what you'd like people to walk away with after going to your installation.    [00:45:51] Masaki Fujihata: I was really surprised because this was my first case the audience had a tear. So after they saw the augmented reality, some of the person said, “Masaki,” I suppose, she suppose that, “Perhaps my grandfather was here.” Could feel the same impression or imagine, she could imagine what had happened on her grandfather So it's a bit like a cinema, but there is no written story, so each person can explore the images through a tablet. But, uh, maybe five minutes later, uh, the user will feel inside the scene. So In another words, I can say you are going to feel you are inside a cinema studio. You will be captured by the camera. And also another, okay, another interesting aspect because, I could develop this project because the photographs were left made by Dorothy and other people, uh, professional documentary photographer made these photography. So photography was left. And then, um, while you are using iPad in the entrance plaza of, Oakland Museum, you will see many Japanese people wearing the costume and, waiting for the bus. But now you are the cameraman. You believe you are seeing what had happened through the display, but, imagine for them inside the image were looked by you. So this is the viewer you are going to see, but also from them, from the object, you are the cameraman.   [00:48:04] Miko Lee: So you want people to feel both sides, both being the watcher but also in it—   [00:48:09] Masaki Fujihata: Yeah.   [00:48:10] Miko Lee: Immersed in the experience.    [00:48:11] Masaki Fujihata: Yeah, hunter.    [00:48:13] Miko Lee: Mm.    [00:48:13] Masaki Fujihata: Image hunter, yeah.    [00:48:15] Miko Lee: Image hunter, mm. I, I feel like you're saying utilizing technology as a tool for your emotions as opposed to a capitalistic gain. I'm wondering if you're working with AI at all, and your thoughts about it. Because you've really been on the forefront of so much multimedia since the '80s and I'm just wondering now people are just talking about AI and the impact of artists  and I wonder what your thoughts are about that.   [00:48:39] Masaki Fujihata: I, I think, uh, it's too early to, uh, work with AI as an artist because, uh, e- even the developer of, uh, AI didn't know what happened inside, so it's a black- totally black box. So that's interesting part of AI. Uh, maybe you know some, some story about this. Very recently, uh, the AI ju- just hack the connection, then they escape from the inside the laboratory to go outside the internet. So this could happen. Uh, that's why, because a human couldn't imagine. So the AI doing something different, and it's really a black box. Then, uh, that's interesting point. If I can be inside the development company as an artist, I can make something interesting hacking software, but it's a huge business, and, uh, I think this is not the moment for the artist. And also, as you know, all the data inside the AI is, uh, happenings in the past.    [00:50:02] Miko Lee: Right.    [00:50:04] Masaki Fujihata: And then, right, the present is important for the humans. What is the role of the artist? There is some, uh, sentence, artist is the person who is creating something new which has not exist before. so, uh, we are not AI, so w-we have to know who, what we should do in contrast to AI is the important moment    [00:50:37] Miko Lee: Thank you so much. I wonder if you would want to just reflect briefly on how this, this piece that you're presenting at Oakland Museum is very resonant right now in America because of the current politics of incarceration of peoples and you know, we're at the same, at the exact same concentration camps where Japanese Americans were held. Immigrants are being detained and put there right now. I'm wondering how this piece speaks to the moment that we're living in in the United States right now.   [00:51:13] Masaki Fujihata: Um, please do not make more mistakes that American government did before in 1942. So Our project can be a kind of reference what the American government did after the Pearl Harbor.    [00:51:39] Carin Adams: Masaki, would you wanna talk a little bit about the new piece that you're making?    [00:51:45] Masaki Fujihata: Oh, I see, I see. I think- That's a good idea. I, I totally forgot. Yeah. Thank you, Carin. Because I proposed to Carin and museum about to make a new piece. The idea is about, uh, the poster. The, that they… So the, in Okura case, maybe, uh, to l- late April in 1942, the poster paste on anywhere, everywhere inside the town, and talking about the, at the certain day, you cannot be stay here. You will be criminal. So, so this is the s- starting point. Then they need to come to the civil control station to sign up, and then one week later, the bus came in, then they need to go to the camp. Then the poster is now very famous, but, uh, usually, people didn't read it Then I, I asked to, collect volunteers to ask read this text on the poster, uh, several different locations inside the Oakland. So when you see the final result, the view of the people reading the text aloud is very peaceful, very bright, California sunshine and there is a lake behind and sometimes, you know, the buses came and stop and go there. So this is very peaceful, but the content is very strong- strongly contrast- co- contrasted. So it's a command from the government. I really wanted to, to make this contrast through this new production. So you, you will see three vertical monitors, and, 25 different group of people. I think there was nearly 45 people helped me to realize this   [00:54:02] Miko Lee: What is it you hope to evoke by adding this new piece of the relocation poster?   [00:54:08] Masaki Fujihata: I really wanted to involve some of the young generation and family and also, known Japanese American people. So all of these people, of course, have some fear against the, this moment, and then try to, uh, send messages. So they helped me to realize this.   [00:54:39] Carin Adams: The video is really going to provide the soundtrack for the exhibition. There is no sound in any of the other film elements or in the AR other than what visitors bring in conversation into the space. But they'll be able to hear the local volunteers that Masaki assembled reading the exclusion order text and we're expecting that to be very profound- impactful. And yes, some of the people who volunteered for this new video element were incarcerated themselves, others are descendants, and then there are just people who are representing different immigrant experiences who wanted to participate. So it's a very local production, and it really cites us in the present moment with this really chilling text from the past.    [00:55:33] Miko Lee: Thank you so much for joining me and chatting with me about the exhibit BeHere / 1942. I'm really excited to check it out, and I hope our audience gets a chance to go and see it all the way through the end of December at Oakland Museum.   [00:55:48] Carin Adams: Thank you so much for having us.    [00:55:50] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 9.3.26 – Beneath the Surface with Margaret Cho & Masaki Fujihata appeared first on KPFA.

durée : 01:28:47 - par : Aurélie Moreau - Bernard Gavoty écrivait à propos du Beaux Arts Trio : « un jeu de nuances infiniment subtiles, sans même parler de la technique, si aisée, si naturelle qu'on ne la remarque plus ». Aujourd'hui : Haydn, Arenski, Mozart, Beethoven, Brahms, Ravel… - équipe : Cécile Bonnet des Claustres, Thomas Guinegagne - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Aschaffenburg, 03. September 1791. Per Schiff reist die Bonner Hofkapelle zu einer Festwoche nach Mergentheim. Auf dem Weg liegt Aschaffenburg, die Wirkungsstätte des damals berühmten Komponisten und Klavierspielers Franz Xaver Sterkel. Mit dabei ist der junge Beethoven, der die Gesellschaft mit seinem Klavierspiel beeindruckt.

Kencan Dengan Tuhan - Kamis, 3 September 2026Bacaan: "TUHAN itu penopang bagi semua orang yang jatuh dan penegak bagi semua orang yang tertunduk. " (Mazmur 145:14)Renungan: George Frederick Handel adalah seorang komponis, walaupun namanya tidak setenar Beethoven atau Mozart. Namun kita semua pasti mengenal lagu "Halleluyah", atau lebih tepatnya opera "The Messiah". Lagu itu adalah masterpiece Handel. Seorang penulis biografi Handel menulis, "Karya tersebut akan tetap menjadi karya terbesar dalam sejarah penggubahan lagu/musik, bahkan mungkin untuk selamanya." Handel sebenarnya sudah mulai terkenal sejak usia 8 tahun. Sejak usia itu ia sudah mahir bermain organ dan pernah tampil di depan Pangeran Frederick III dari Berlin. Namun nama besar bukanlah jaminan. Karena situasi, Handel kehabisan uang, nyaris bangkrut dan penonton tidak lagi antusias menonton konsernya. la pun terkena stroke hingga tangan kanannya lumpuh. Meski akhirnya bisa disembuhkan, Handel memutuskan untuk pensiun dari dunia musik yang telah membesarkan namanya. Empat bulan setelah konser perpisahannya, seorang bernama Charles Jennings memberikan sebuah buku berdasarkan kehidupan Yesus kepada Handel. Tak disangka, buku itu mengubah hidup Handel, ia pun menulis karya-karyanya lagi. Kreatifitasnya kini mengalir terus menerus selama 21 hari tanpa henti dan ia berhasil merampungkan Messiah setebal 260 halaman, dengan bobot karya yang tak tertandingi. Kita tahu bahwa Handel pernah mengalami kegagalan, namun itu bukan penghambat untuk bangkit kembali dan meraih kesuksesan. Hal ini seperti yang dikatakan di Alkitab oleh Nabi Yoel, "Tempalah mata bajakmu menjadi pedang dan pisau-pisau pemangkasmu menjadi tombak; baiklah orang yang tidak berdaya berkata: "Aku ini pahlawan!" (Yoel 3:10) Gagal bukanlah aib, namun yang paling penting adalah bagaimana kita bisa bangkit lagi, berani memulai lagi dan siap menanggung risiko. Bukan mustahil saat ada dalam kegagalan, lalu kita bangkit kembali, maka kebangkitan kita ini akan menghasilkan karya masterpiece! Bagaimanapun "Terpuruk tidaklah buruk, berani bangkit akan melejit". Sebagaimana sebuah ungkapan yang berkata: " Orang bijaksana tidak pernah duduk meratapi kegagalannya, namun dengan gembira hati mencari jalan keluar bagaimana memulihkan kembali kerugian yang dideritanya." Tuhan Yesus memberkati. Doa:Tuhan Yesus, saat aku mengalami kegagalan, yakinkan aku ketika aku mengandalkan Engkau maka aku dapat bangkit lagi untuk meraih kesuksesanku. Amin. (Dod).

durée : 01:28:47 - par : Lionel Esparza - A la rencontre des Wallenstein – dit encore Waldstein- une dynastie de Bohème qui a laissé de nombreuses traces dans la musique à travers les siècles, chez Smetana, Beethoven, d'Indy, Weinberger... - équipe : Maud Noury Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Send us Fan MailPrisoners, secret identities, political oppression—and a daring rescue just in time. Discover how the revolutionary spirit of Europe inspired the rescue opera, a dramatic genre that gave us works such as Beethoven's Fidelio—all in just sixty seconds.Love classical music? There's more to discover.If you enjoyed this episode, you can read the companion article and subscribe on Substack at The Classical Music Minute. And for a brand-new narrated classical music story every day, download the Classical Minute app for iPhone.Until next time, I'm Steven Hobé. Thanks for listening to The Classical Music Minute.

Zwei verfeindete Zwillingsbrüder im alten Ägypten und Griechenland, eine Massenhochzeit, ein Massenmord und ein infernales Schlussbild mit Furienchor und Feuerregen. Salieri lieferte dem Pariser Publikum bei der Uraufführung am 26. April 1784 eine Dramatik und ein Spektakel, das man dort noch nicht auf der Bühne gesehen hatte. Antonio Salieri landete mit seinen Danaiden einen Riesenerfolg, der noch Jahrzehnte nachwirkte. Über diesen Fünfakter schwärmten später auch Hector Berlioz sowie Richard Wagner, und Ludwig van Beethoven, nur einer der vielen berühmten Schüler des Hofkomponisten von Joseph II., kopierte Stellen des Werks im Unterricht, um davon zu lernen. Wohl wegen des aufkommenden Nationalismus am Anfang des 19. Jahrhunderts fielen Antonio Salieri und sein grosses, teils geradezu avantgardistisches Œuvre mit fast 40 Opern zwischen Stuhl und Bank: Für die Italiener war der bereits als Teenager ausgewanderte Salieri ein Wiener, für die Wiener blieb er Italiener, und für die Franzosen war er ein Deutscher. Er wurde somit in keinem der Länder, in welchen er so erfolgreich wirkte, zur nationalen Identifikationsfigur oder zum Nationalkomponisten erkoren. 2025 jährten sich Salieris 200. Todestag. Aus diesem Anlass fand erstmals ein Werk dieses damals so beliebten und häufig gespielten Komponisten in die Diskothek. Gäste von Moritz Weber sind der Salieri-Biograf Timo Jouko Herrmann und der Bassbariton Robert Koller. Erstausstrahlung: 08.09.2025

“Hitler had to abolish democracy to take over Berlin.” — Wendy Lesser “Ich bin ein Berliner” (I Am a Berliner), JFK famously said in West Berlin on June 26, 1963, in the face of Soviet imperial tyranny. Today, Wendy Lesser is offering the same defiance in her new book Berlin Before and After. Only Lesser offers a cautionary mirror for our times of not just post-Soviet Putin but also wannabe-tyrants like Trump. Lesser's loving portrait of Berlin is of a free city. She reminds us that even in Germany's darkest hour, Berlin never actually went Nazi. The city voted left up to and including 1933, so Hitler had to abolish democracy to take it over. Nor, Lesser argues, was Nazism a reaction to Weimar Berlin's Cabaret-style nightlife, any more than Trump is a reaction to wokeness. Economic forces, not cultural ones, she insists, enable dictators. Today's Berlin, as a city that memorializes its own crimes, offers America an urban lesson in acknowledging historical guilt. That's what makes Berlin such a defiant beacon of freedom in our authoritarian age. There are more urbane cities than Berlin, but none quite as dedicated to freedom. Go there and/or read Berlin Before and After. Today we should all be Berliners. Five Takeaways •       Our Own 1929 — or 1932? The book began as a love letter to the Berlin Lesser adopted in 2003 — the everywhere writer of Berkeley, New York, and Berlin, against Lampedusa the ultimate somewhere, who never left Sicily and carried Shakespeare through the coffee houses of Palermo. But as she wrote, America's condition worsened: “We were not only in our own 1929, but perhaps in 1930, '31, or even '32 — verging on our own descent into frightening dictatorship.” Hence the subtitle's cautionary mirror — though history, she insists, never exactly repeats itself, and the American analogies came unforced, surfacing every thirty or forty pages without hammering. Being an everywhere, she says, doesn't make you write better — Lampedusa proves that — “but it improves your life,” and it gave her the subjects her native California never could.•       Berlin Never Went Nazi. The episode's revelation: the city of Weimar flamboyance never gave the Nazis a majority — Berlin voted left up to and including 1933, and “Hitler had to abolish democracy to take over Berlin.” From which follows her sharpest argument: Nazism was not a backlash against Berlin's sexual and artistic freedoms, “just as I do not see the election of Trump as a reaction to so-called wokeness or trans rights. Cultural manifestations do not cause such government changes. Economic forces do” — wealth gaps, regional deprivation, the east feeling second-class, then and now (the AfD's heartland). The direct equivalences are rhetorical: America's poisoned-blood language on immigrants comes “straight from the Goebbels playbook,” and the rights that flowered in twenties Germany were “instantly squished” in the thirties. As for today: the AfD polls high before Berlin's September city elections, but the firewall holds — and the party is formally flagged by German intelligence as constitutionally dangerous. Andrew's question stands: any vaccines for this thing?•       1929: The Year Everything Premiered. Why that year: Grosz, Sander, and Otto Dix at their peak; Brecht and Piscator both premiering; All Quiet on the Western Front, the underrated Grand Hotel, and Berlin Alexanderplatz in the bookshops — plus Thomas Mann's Mario and the Magician, the novella that predicted fascism; Billy Wilder still a weekly-paper journalist shooting his first film; and Christopher Isherwood arriving on the first visit that became Goodbye to Berlin and, via Broadway, Cabaret. “Only in retrospect do we see these things as major.” The culture flourished beside economic and political chaos — “having a terrible government is not inconsistent with producing good culture. Look at nineteenth-century Russia” — and when the chaos won, the exiles washed up in the German ghetto of Los Angeles: Brecht (on the beach, per this week's Baerwald episode), Döblin, Mann. Many went back — Brecht in 1949, Piscator after — because in Hollywood and New York they “couldn't live on the thin slice of culture,” a homesickness Lesser saw again in Berkeley's own Czesław Miłosz, watching Americans like children playing in a sandbox.•       After Means 1989. The title's twist: the After is not the Nazis' arrival but the Wall's fall. The dark half-century — twelve years of Reich, then “with barely a pause to take a breath” the divided city — is deliberately skipped: “the city is going to tell you what happened,” through what its monuments confess, like Bebelplatz's memorial to the burned books of May 1933. Berlin now wears its freedom knowingly: graffiti flourishes precisely because speech was twice policed; May Day's bottle-throwing is tolerated and swept up; Freiheit arrives like the choral finale of Beethoven's Ninth — Andrew's analogy, which she embraced with irony, since “nobody is totally free these days.” The Wall's hothouse island remains separate from Germany half a century on. And the city stays cinematic to the point of unreality — Wings of Desire's angels in the actual Staatsbibliothek (“I thought it was just a set”), Babylon Berlin's set-choosers clearing away the present — with a thriller shelf to match: Deighton's Berlin Game (freshly reread on his death), le Carré's Spy Who Came in from the Cold, Herron, McEwan, Schneider's Wall Jumper.•       A Mirror That Might Become Useful. Berlin's deepest lesson is for after the fall: it is the city that acknowledges its bad deeds — monuments and plaques saying this is where we did it — while America “likes to brush it all aside and act like we're always the heroes.” Andrew's pushback landed: Montgomery, Bryan Stevenson's lynching memorial, the African American Museum — “You're right. I'm not being fair.” But the qualification sharpens rather than sinks the thesis: “we do not have a history yet like Holocaust Germany or even Berlin Wall Germany… It's a mirror that might become useful if the worst comes about.” Meanwhile Berlin models the livable city: rent control the voters wanted to push all the way to expropriation, transit worth “ecstasies,” and a constitutional welfare clause promising a dignified existence — economic rights our Bill of Rights never mentions. The book ends aboard the M29 bus, top deck, regular fare, from the Maybachufer's twice-weekly market (running since before 1929) across the old West to Grunewald. “Maybe you're going to be made into a Berlin angel.” “A great fate.” About the Guest Wendy Lesser is the founding editor of The Threepenny Review, the celebrated Berkeley literary quarterly, and the author of a novel and twelve works of nonfiction, including You Say to Brick: The Life of Louis Kahn (winner of the Marfield Prize), Why I Read, and Scandinavian Noir. A fellow of the American Academy of Arts & Sciences, she has held fellowships from the Guggenheim Foundation, the NEH, the Cullman Center — and the American Academy in Berlin, where her love affair with the city deepened. Berlin Before and After: A Cautionary Mirror for Our Times (Harper, September 2026) is her portrait of the city in 1929 and now. She divides her time between B...

Igor Levit liebt die Extreme: In Schubert, Chopin und Beethoven sucht er die fiebrige Intensität, das Rauschhafte, den Ausdruck am Abgrund. Doch manchmal kann seine Energie auch zu viel werden.

For Daniel Mergler, music was one of the true joys in life. He taught children to play piano for 50 years, and took his job very seriously. So when 9 year old Zin Ben showed special talent, a shot of excitement went through the aging teacher. This talent needed to be cultivated. Care must be taken. But, when Mr. Mergler was given a palliative diagnosis after his colon cancer spread, he found that it was now Zin Ben's turn to offer him some care and comfort. From our special summer archival doc series - this is David Gutnick's doc from 2003 Beethoven's Bust

Hello, and welcome to Entangled! The podcast where we explore the science of consciousness, the true nature of reality, and what it means to be a spiritual being having a human experience. I'm your host Jordan Youkilis, and today I'm joined by Sean McCann, host of the Wake the Dead podcast. Today's episode focuses on Sean's discovery of “The Fidelio Experiment” in Stanley Kubrick's film Eyes Wide Shut. We're joined in this episode by guest co-host and Kubrick expert, John Coffey.In this conversation, Sean describes how his life's journey led him to the philosophy of anarchy, the reality of the occult, and the art of photography. He describes how this led to his study of director Stanley Kubrick, and the consciousness-expanding nature of psychedelics.We then discuss MK-Ultra, Nicole Kidman's character Alice in Eyes Wide Shut, and trauma-based mind control. Sean explains how the documentary Room 237 unlocked another level of understanding of the film for him, as he recognized that Helena was stolen from the toy store at the end of the film.We discuss Project Monarch and the genetic transfer of memories. Sean explains why butterflies are used to symbolize multi-generational, Monarch, mind-controlled slaves, as it takes three generations of monarch butterflies to complete their migratory journey.We then dive into Sean McCann's “Fidelio Experiment” – his discovery that Eyes Wide Shut synchronizes with itself (and Kubrick's other films) every hour, on the hour. Sean argues this is evidence that 20 minutes of the film was never removed, and that Kubrick himself may have intentionally created that rumor.Sean describes the connection between the password “Fidelio” in Eyes Wide Shut and the music of Beethoven in A Clockwork Orange. Sean then provides live commentary as we play the “Fidelio Experiment”, starting Eyes Wide Shut simultaneously at the zero, sixty, and one hundred twenty minute marks.Sean, John and I discuss the casting of Nicole Kidman and Tom Cruise as a recognition of both actors' real-life involvement in human trafficking. Sean explains Kubrick's use of non-submersible units rather than dialogue in his film construction. He describes the tesseract as an occult symbol for mind-control slavery.We consider how Kubrick used non-submersible units in his films to expose the cabal, and in his artwork, gave humanity the weaponry needed to bring down the cult. Sean then provides commentary over his ten-screen “Fidelio Experiment”, with three Eyes Wide Shut screens played in tandem with seven other Kubrick films. We discuss Kubrick's interplay of music, dialogue, and time.From there, Sean, John and I discuss how organized crime in the material realm mirrors the hierarchy of the spiritual realm. Sean explains how ancient child sacrifice to Tanit has continued to present day, including via the circumcision of babies. We end the conversation considering demonic invocation, and the nature of moonchildren conceived at the Satanic rituals portrayed in Eyes Wide Shut.Note we ran into issues with John's audio/visual after about the first hour, but we were able to re-record the lost audio and edit it back into the interview.Outros available for all episodes at entangledpodcast.substack.com, with supporting exhibits and footnotes. Music from the show available on the Spotify playlist “Entangled – The Vibes”.If you like the show, please drop a 5-star review and subscribe on Substack, YouTube, Spotify, Rumble, X, or wherever you listen to podcasts.Please enjoy the episode.Music: Intro/Outro: Ben Fox - “The Vibe”. End Credits: Jane & The Boy – “Waste Our Time”.Outro: “The Fidelio Experiment.”Recorded: 07/13/26. Published: 08/25/26.Check out the resources mentioned:* Wake the Dead Podcast: * Wake the Dead: “Fidelio Experiment deciphered”: https://rumble.com/v5q8i5n-fidelio-experiment-deciphered.html* One Great Network: https://onegreatworknetwork.com/sean-mccann* Room 237: https://www.amazon.com/gp/video/detail/B0GTC3SGWH?ref_=atv_dp_share_cu_r* Wake the Dead: “William Ramsey Ep. 229”: * Psyop Cinema Podcast: * Wake the Dead: “Jerry Marzinski Ep. 230”: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit entangledpodcast.substack.com

We make love to make life! That's what the Earth designs!  Life makes Life! After the raving love sermon the Earth takes the microphone.  Ojibwe drum circle follows Common Loons, the lord and lady of the rice lakes.  And then wolves and thunderstorms and Sun Ra and Beethoven and raging floods and in Savitri D's  News From The Natural World amazing Earth life is confronted by the killers of life, our toxic political opponents.... And we know the Earth will win.  Earthlujah!           

Nach mehr als anderthalb Jahrzehnten hat der polnische Pianist wieder ein Album mit Orchester veröffentlicht.

David sits down with Dr. Ron Pen, musicology professor and director of the UK John Jacob Niles Center for American Music, to discuss America's most important and most forgotten composer, Anthony Philip Heinrich. They discuss his musical style, how he came to America and Lexington, Kentucky, specifically, and how his music came to be forgotten.

Federal Student Loan Overhaul The Trump administration's changes to available federal student loan repayment plans, along with new Parent Plus loan and graduate school borrowing caps went into effect July 1, leaving many borrowers wondering what's in their best interest as legal challenges against overhaul continue to play out in court. On Monday's edition of the "Sound of Ideas" hosted by Stephanie Haney, we look at the student loan lending landscape in the latest installment of our "Law of The Land" series, where we look at how the law affects our everyday lives. Currently the Biden-era SAVE plan is no longer available, causing concern for people who worry about not being able to make higher monthly payments under its replacement, the RAP plan, which may also increase the so-called marriage penalty for couples who file their taxes together rather than as individuals. There is some good news for federal loan borrowers who were defrauded, as a lawsuit that was first filed against the Trump administration in 2019 has finally been settled, giving relief to 450,000 people by canceling their student loan debt after they were misled by the schools they were enrolled in. On the private loan side, experts worry that the rise in online education programs coupled with federal borrowing limits may increase predatory lending practices, as people cobble together financing for their education. Guests: - Eileen Connor, Lawyer, and President and Director, Project on Predatory Student Lending (PPSL) - Carolina Rodriguez, Director, Education Debt Consumer Assistance Program (EDCAP) Jon Batiste to Perform at Blossom Music Center Multi-Grammy Award-winning artist Jon Batiste is known for creatively blending genres. This week he brings his interpretations of Mozart and Beethoven as well as his originals to a night at Blossom with the Cleveland Orchestra. The former bandleader for the Late Show with Stephen Colbert and co-composer of Pixar's "Soul" also just released more music in his piano series. Ahead of Thursday night's concert, Jon Batiste spousoke with Ideastream's Deputy Editor of Arts and Culture Carrie Wise. Guests: - Jon Batiste, Musician, Singer, Songwriter and Composer - Carrie Wise, Deputy Editor of Arts and Culture, Ideastream Public Media

Le banconote dell'euro cambieranno nei prossimi anni, e la cosa più sorprendente è un'altra: il disegno si può votare. Raffaele e Matteo guardano i due temi in gara — i personaggi famosi della cultura europea oppure i fiumi e gli uccelli — e scoprono che sulle banconote di oggi non c'è nessun edificio vero. Nella seconda parte si scende a Genova, la tappa italiana della crociera: i caruggi, la Lanterna, una bomba che non è esplosa e un piatto di vetro verde che qualcuno chiama Santo Graal. Trascrizione interattiva e Vocab Helper Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership Parole della settimana il faccione — Una faccia grande. In italiano il suffisso -one rende le cose più grandi: da faccia nasce faccione. Si usa spesso per i ritratti grandi, quelli sui manifesti o, appunto, sui soldi. Nell'episodio è la posizione di Raffaele su come devono essere fatte le banconote: "sono vecchia scuola, sono abituato ad avere i faccioni delle persone sui soldi". English: a big face; here, a large portrait il sorteggio — Quando si sceglie a caso, senza decidere, per esempio con i bigliettini o con i numeri. Il verbo è sorteggiare, ma nell'episodio Raffaele usa anche estrarre e pescare. A Genova serviva per una cosa molto seria: decidere quale famiglia doveva ospitare un re o un papa. English: a draw, a drawing of lots Note dell'episodio È metà agosto e si sente: Raffaele ha le finestre spalancate in una città mezza vuota, Matteo si è chiuso in una stanza al piano di sopra perché a casa ci sono ospiti con bambini, e spera di non diventare "una pizza" con il sole che batte sui vetri. Prima di cominciare, una nota per Cristina: il suo messaggio vocale è arrivato ma non si sente niente, è un messaggio muto — e siccome il podcast è solo audio, non c'è modo di capirlo. Per favore, Cristina, rimandacelo. Poi si parla di soldi, con una precisazione subito corretta: "non parliamo dei nostri soldi... o meglio, parliamo dei nostri soldi. Dell'aspetto dei nostri soldi". Le banconote in euro cambieranno nei prossimi anni e la Banca Centrale Europea lascia votare il disegno. È questa la parte che stupisce Matteo: "sono stupefatto quasi dall'Unione Europea". I temi in gara sono due, e non è ancora stato scelto niente. Il primo sono i personaggi famosi della cultura europea. Il secondo è la natura, e in particolare i fiumi e gli uccelli: l'idea è bella, perché in Europa un fiume nasce in un Paese, ne attraversa altri e finisce in mare in un altro ancora, quindi unisce invece di dividere, e gli uccelli migratori fanno la stessa cosa. Raffaele però non riesce a immaginarseli nel portafoglio: gli uccelli si somigliano troppo, "sarebbe difficile dire 'il 5 euro è quello dove c'è il picchio, mentre invece il 10 euro è quello in cui c'è il martin pescatore'" — e Matteo, che è "pro uccelli", risponde che è un ottimo modo per imparare. Il rischio, dice Raffaele, è ripetere l'errore di adesso: sulle banconote di oggi ci sono archi e ponti in sei stili, dal classico all'Art Nouveau, e sono tutti edifici inventati, così nessun Paese poteva sentirsi escluso. Il risultato? "Se chiedi all'uomo della strada cosa è rappresentato sul 5 euro, ti dice 'boh, un edificio'". Se invece vincesse il primo tema, le facce sarebbero sei: Maria Callas sul 5, Beethoven sul 10, Marie Curie sul 20, Cervantes sul 50, Leonardo da Vinci sul 100 e, sul 200, un nome che i due non conoscevano: Bertha von Suttner. Tre donne e tre uomini, e quasi tutti appartengono a due Paesi insieme — Callas nasce cittadina americana da famiglia greca e diventa italiana, Curie è polacca naturalizzata francese, "più europea che francese o polacca". Von Suttner è stata la prima donna a vincere il Premio Nobel per la pace e ha scritto Giù le armi nel 1889: "non ha portato bene, perché dopo sono scoppiate due guerre mondiali". "Ci ha provato." Con Leonardo arriva anche un quiz sulla lira: su quale banconota era? Non sulle 1.000 — quello era Marco Polo, dice Raffaele, ma non ne è sicuro — e nemmeno sulle 10.000: era sulle 50.000. Le monete, invece, non cambiano: ne parleranno un'altra volta. Nella seconda parte si scende a Genova, la tappa italiana della crociera della settimana scorsa. Matteo ci è stato due volte e la trova molto simile a Napoli; il dispiacere è lo stesso per tutti e due, la strada sopraelevata davanti al mare, "come se ci fosse una cicatrice in mezzo", anche se nessuno dei due vuole girare il dito nella piaga dei genovesi. Poi però c'è tutto il resto: il porto industriale da una parte e dall'altra il porto antico rifatto da Renzo Piano, i palazzi con i portici, la Lanterna che è il simbolo della città, e i caruggi, cioè i vicoli stretti e pieni di vita del centro storico. Nella Cattedrale di San Lorenzo, a strisce bianche e nere, ci sono tre storie in una: le ceneri di San Giovanni Battista ("ce l'hanno tutti", commenta Matteo), il Sacro Catino, un piatto di vetro verde di duemila anni fa che secondo alcuni è il Santo Graal, e una bomba della Seconda Guerra Mondiale caduta lì dentro e mai esplosa — l'originale è stato disinnescato, dentro la chiesa c'è una copia. C'è anche la casa di Cristoforo Colombo, che era genovese. E si chiude con le Strade Nuove e i Palazzi dei Rolli, patrimonio UNESCO, costruiti tra Cinquecento e Seicento con i soldi dei mercanti: siccome non c'era un palazzo solo per gli ospiti importanti, le famiglie erano divise in categorie e quando arrivava un re, un imperatore o un papa se ne estraeva una a sorteggio. Da quel momento quella famiglia ospitava a nome di tutta la città. È anche il periodo in cui la Repubblica di Genova diventa quasi un'oligarchia. Nella sala VIP si continua con l'Acquario. Trascrizione Matteo: [0:24] Buongiorno. Raffaele: [0:26] Buongiorno a te, Matteo. Come stai e dove stai? Matteo: [0:30] Tutto bene e sono dove ero settimana scorsa, ma al piano di sopra. Raffaele: [0:39] Alla ricerca di un po d'aria fresca? Matteo: [0:42] No, non proprio: alla ricerca di uno spazio in cui posso registrare senza disturbare, mettiamola così, mettiamola al contrario. Raffaele: [0:52] O essere disturbato, dai, diciamola tutta. ... Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership

Some of history's most famous people had remarkably eventful afterlives. Charlie Chaplin's corpse was stolen from his grave and held for ransom. Thomas Paine was dug up and carried across the Atlantic. Pieces of Beethoven and Schubert disappeared in the name of science. And René Descartes somehow ended up buried without his head. In this episode, we uncover the bizarre true history of famous corpses that were stolen, moved, studied, scattered and lost. Along the way, we meet grave robbers, obsessive admirers, ambitious scientists and restless ghosts, and discover why a final resting place isn't always quite so final. If you enjoyed this episode, you might also like: Episode 56 – Valentino's Ghost DogEpisode 105 – Who Tried to Kill Shirley Temple? For information or to purchase tickets for our ghost tours or paranormal adventures in Kingston, Ottawa, or Toronto, please visit hauntedwalk.com.

We'd love to hear from you! Please send us a Text Message!From out of the blue came a song title. The muse in me grabbed it and ran with it. Yet another song title about love, but one with a twist. The true story (though partially imagined) of a romance that almost never happened. A series of near misses where finally that gigantic word “LOVE” simply takes over and leaves two people fallen. Love, the unstoppable, the irresistible, the greatest force known to mankind is indomitable and millions have experienced it! Join us as we take the journey of creating an ode to Love. It has probably happened at some point to you. If it hasn't, then watch out. It may be coming just around the corner.Theater of the Imagination is presented by Watchfire Music watchfiremusic.com

Founders: Read the notes at at podcastnotes.org. Don't forget to subscribe for free to our newsletter, the top 10 ideas of the week, every Monday --------- Claude Shannon changed your life and you probably don't even know it. Claude is the father of information theory. He transformed information into bits and created the intellectual foundation for computers, the Internet, digital media, high-speed communication, and Artificial Intelligence. The way Claude Shannon worked is what interested me the most. He combined extraordinary abstract reasoning with an engineer's instinct to build. He reduced complex problems to their essential structure. He connected ideas across mathematics, engineering, cryptography, artificial intelligence, investing, chess, juggling, and robotics. He treated every experience as material that he might later combine into a new insight. He was also relentlessly independent, guided more by curiosity and freedom than recognition, money, or usefulness. This episode is what I learned from rereading A Mind at Play: How Claude Shannon Invented the Information Age by Jimmy Soni and Rob Goodman. Made possible by: Ramp: ⁠⁠https://ramp.com⁠⁠ AppLovin: ⁠⁠https://www.applovin.com Vanta: ⁠⁠https://vanta.com/founders 0:00 — "The great insights don't spring from curiosity alone, but from dissatisfaction... A genius is simply someone who is usefully irritated." 1:36 — "It seems to be much easier to make two small jumps than one big jump in any kind of mental thinking." — Shannon 4:41 — "He was a man almost entirely written out of a history that's defined by self-promoters. His was a life spent in the pursuit of curious, serious play." 5:20 — "He worked with levity and played with gravity. He never acknowledged a distinction between the two." 6:00 — "Geniuses are the luckiest of mortals because what they do is the same as what they most want to do." 6:59 — "I do what comes naturally, and usefulness is not my main goal. I keep asking myself, 'How would you do this? Is it possible to make a machine to do this? Can I prove this theorem?'" — Shannon 11:50 — "Chemistry always seemed dull to me. There's too many isolated facts and too few general principles for my taste." — Shannon 19:09 — "Specialization is the death of genius." — Vannevar Bush 19:18 — "The possibilities of being at once both broad and deep did not pass with Leonardo da Vinci or Benjamin Franklin." — Vannevar Bush 25:13 — "I had the freedom to do anything I wanted from almost the day I started. They never told me what to work on." — Shannon on Bell Labs 26:41 — "I've been working on three different ideas simultaneously, and strangely enough, it seems a more productive method than sticking to one problem." — Shannon 32:55 — "My fondest dream is to someday build a machine that thinks, learns, communicates, and manipulates its environment in a fairly sophisticated way." — Shannon 35:05 — "Before Shannon, information was a telegram, a photograph, a paragraph, a song. After Shannon, information was entirely abstracted into bits." 38:04 — "After the effort of discovery, the effort of communication was secondary by far. He had solved a problem to his own satisfaction, and that, as far as he was concerned, was enough." 40:55 — "I've spent lots of time on totally useless things... He made no distinction between his interest in information and his interest in unicycles. They were all moves in the same game." 46:54 — "Shannon seemed to think with ideas more than with words or formulas. A new problem was like a sculptor's block of stone, and Shannon's ideas chiseled away the obstacles until an approximate solution emerged." — Ed Thorp 47:19 — "I simply removed everything that was not David." — Michelangelo 47:25 — "I don't think I was ever motivated by the notions of winning prizes. I was more motivated by curiosity, never by the desire for financial gain. I just wondered how things were put together." — Shannon 47:49 — "I think the history of science has shown that valuable consequences often proliferate from simple curiosity." — Shannon 48:37 — "The important people and events of history are the thinkers and innovators, the Darwins, the Newtons, the Beethovens, whose work continues to grow influence in a positive fashion." — Shannon

When Rosemary Brown was just 7-years-old, she was visited by the spirit of a strange old man who told her that he would return to her one day and give her music. She would later learn that the man was the composer Franz Liszt. Over time, Rosemary claimed that he and other dead composers -- including Beethoven, Bach, Chopin, and Schumann -- dictated hundreds of new compositions to her from the afterlife. Was she a brilliant fraud, a musical savant, or was she truly receiving music from the dead? Join me as I present the intriguing life of spirit composer Rosemary Brown – the most fascinating and controversial cases of spirit communication the world has ever known. Support: BuyMeACoffee.com/HauntedHappenings Contact: barrypirro@yahoo.com Website: Haunted Happenings Musical excerpt are from the album "Rosemary Brown: A Musical Séance"

One of the most iconic classical musicians or whatever, and a total brat.⁠

Claude Shannon changed your life and you probably don't even know it. Claude is the father of information theory. He transformed information into bits and created the intellectual foundation for computers, the Internet, digital media, high-speed communication, and Artificial Intelligence. The way Claude Shannon worked is what interested me the most. He combined extraordinary abstract reasoning with an engineer's instinct to build. He reduced complex problems to their essential structure. He connected ideas across mathematics, engineering, cryptography, artificial intelligence, investing, chess, juggling, and robotics. He treated every experience as material that he might later combine into a new insight. He was also relentlessly independent, guided more by curiosity and freedom than recognition, money, or usefulness. This episode is what I learned from rereading A Mind at Play: How Claude Shannon Invented the Information Age by Jimmy Soni and Rob Goodman. Made possible by: Ramp: ⁠⁠https://ramp.com⁠⁠ Applovin: ⁠⁠https://www.applovin.com Vanta: ⁠⁠https://vanta.com/founders 0:00 — "The great insights don't spring from curiosity alone, but from dissatisfaction... A genius is simply someone who is usefully irritated." 1:36 — "It seems to be much easier to make two small jumps than one big jump in any kind of mental thinking." — Shannon 4:41 — "He was a man almost entirely written out of a history that's defined by self-promoters. His was a life spent in the pursuit of curious, serious play." 5:20 — "He worked with levity and played with gravity. He never acknowledged a distinction between the two." 6:00 — "Geniuses are the luckiest of mortals because what they do is the same as what they most want to do." 6:59 — "I do what comes naturally, and usefulness is not my main goal. I keep asking myself, 'How would you do this? Is it possible to make a machine to do this? Can I prove this theorem?'" — Shannon 11:50 — "Chemistry always seemed dull to me. There's too many isolated facts and too few general principles for my taste." — Shannon 19:09 — "Specialization is the death of genius." — Vannevar Bush 19:18 — "The possibilities of being at once both broad and deep did not pass with Leonardo da Vinci or Benjamin Franklin." — Vannevar Bush 25:13 — "I had the freedom to do anything I wanted from almost the day I started. They never told me what to work on." — Shannon on Bell Labs 26:41 — "I've been working on three different ideas simultaneously, and strangely enough, it seems a more productive method than sticking to one problem." — Shannon 32:55 — "My fondest dream is to someday build a machine that thinks, learns, communicates, and manipulates its environment in a fairly sophisticated way." — Shannon 35:05 — "Before Shannon, information was a telegram, a photograph, a paragraph, a song. After Shannon, information was entirely abstracted into bits." 38:04 — "After the effort of discovery, the effort of communication was secondary by far. He had solved a problem to his own satisfaction, and that, as far as he was concerned, was enough." 40:55 — "I've spent lots of time on totally useless things... He made no distinction between his interest in information and his interest in unicycles. They were all moves in the same game." 46:54 — "Shannon seemed to think with ideas more than with words or formulas. A new problem was like a sculptor's block of stone, and Shannon's ideas chiseled away the obstacles until an approximate solution emerged." — Ed Thorp 47:19 — "I simply removed everything that was not David." — Michelangelo 47:25 — "I don't think I was ever motivated by the notions of winning prizes. I was more motivated by curiosity, never by the desire for financial gain. I just wondered how things were put together." — Shannon 47:49 — "I think the history of science has shown that valuable consequences often proliferate from simple curiosity." — Shannon 48:37 — "The important people and events of history are the thinkers and innovators, the Darwins, the Newtons, the Beethovens, whose work continues to grow influence in a positive fashion." — Shannon

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

Dr. Anthony Fauci recently invoked the Fifth Amendment in a Senate Hearing. This hour: we take a look at our Constitution's Fifth Amendment to learn why it exists and what it means for all of us. GUESTS: Akhil Reed Amar: Sterling Professor of Law and Political Science at Yale University. His latest book is: Born Equal: Remaking America’s Constitution, 1840–1920, which was a winner of the annual Abraham Lincoln Institute Book Prize James Duane: Teaches at Regent Law School. He is the author of You Have the Right to Remain Innocent: What Police Officers Tell Their Children about the Fifth Amendment. His YouTube video “Don't Talk to the Police” has over 21 million views Clay Risen: Reporter and editor at The New York Times, and the author of Red Scare: Blacklists, McCarthyism, and the Making of Modern America Music featured (in order): A Fifth of Beethoven – Walter Murphy & The Big Apple Band Take the Fifth – Spoon When You Say Nothing At All – Alison Krauss Take the Fifth Amendment – Joe Tex Lawyers, Guns and Money – Warren Zevon Exhuming McCarthy – R.E.M. Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Hour 1: Donna Mills is proving you can be a sex symbol in your 80s. Rumors are swirling that Keith Urban and JLo aren't starting something romantic. Enjoy the heatwave this weekend. The new ‘Ted Lasso' is almost here. ‘Futurama' and ‘It's Always Sunny' are still kicking. The hard drive with Nick Cage's next movie was stolen from the Netflix offices. Here's what The Smithereens and Taco Bell have in common. Remember when the co-hosts of Good Morning America got caught cheating together? Hour 2: It's time for Bad Advice! An update on the three-way that went way too far. Then, a neighbor nightmare from Sarah's sister. Why do Apples make other fruit go bad? The lettuce drama is STILL a mystery. Vinnie says it's time to give up on Mars, but Sarah could not disagree more. What's the most interesting part about your local fair? Hour 3: Olivia Wilde and Cooper Hoffman star in a new movie this weekend called “I Want Your Sex.” Gronk is telling us the details off the raffle at Taylor Swift's wedding. Women are sharing everyday struggles men are oblivious to. Women gain a super power as they age - invisibility! It's county fair season which means it's unique fried food season! Hour 4: Ariana Grande's new album is out today. Ciara from ‘Summer House' is starring in Shaboozey's new music video. Cardi B reduced the size of her booty, but not by that much. Harry Styles caused a woman to abandon her baby. Vinnie's humor has been keeping him out of trouble for decades. Never trust your visual aids. Beethoven's heart might have been the secret to his success. Being high isn't going anywhere. Plus, How Old Is That Guy?

Ariana Grande's new album is out today. Ciara from ‘Summer House' is starring in Shaboozey's new music video. Cardi B reduced the size of her booty, but not by that much. Harry Styles caused a woman to abandon her baby. Vinnie's humor has been keeping him out of trouble for decades. Never trust your visual aids. Beethoven's heart might have been the secret to his success. Being high isn't going anywhere. Plus, How Old Is That Guy?