Podcasts about Milwaukee Symphony Orchestra

Earl kicks of the hour talking with Byron Stripling, conductor of When the Saints Go Marching In at the Milwaukee Symphony Orchestra this weekend. They talk about what music means to them and how this show came together. Then, he discusses Vice President Kamala Harris's plant to lessen degree requirements for federal jobs. The Earl Ingram Show is a part of the Civic Media radio network and airs Monday through Friday from 8-10 am across the state. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast line up. Follow the show on Facebook and X to keep up with Earl and the show!

Liebe Wunderbar-Together-Crew, heute wird es musikalisch, und auch ein bisschen emotional: Felix und Katalina haben mit Ken-David Masur gesprochen, dem ersten Dirigenten, der zu Gast ist bei Wunderbar Together. Ken-David Masur dirigiert das Milwaukee Symphony Orchestra, organisiert das Chelsea Music Festival in New York – und nimmt uns mit auf eine wunderbare Reise in seinen Konzertsaal, seine Vergangenheit, und hinein in seinen trubeligen Alltag in Wisconsin. vo

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Megumi Kanda, Principal Trombone of the Milwaukee Symphony Orchestra.  About Megumi Kanda Megumi Kanda, Principal Trombone of the Milwaukee Symphony Orchestra since 2002, is an internationally acclaimed performer, teacher, and author.    Megumi has performed as a soloist across the United States, Europe, and Asia, including with the Milwaukee Symphony Orchestra, Pershing's Own Army Band, the US Army Field Band, and the Prague Chamber Orchestra. She has been a featured guest artist at many trombone workshops and festivals, including the International Trombone Festival and the American Trombone Workshop. Megumi has appeared as guest faculty at numerous music institutions, including the New World Symphony, National Youth Orchestra of the USA, and Interlochen Arts Academy, and has given master classes and recitals across the US, Europe, and Asia. In April 2006, Megumi was recognized by the Arion Foundation in Tokyo, Japan as one of the most influential Japanese classical artists. She has also received a Certificate of Commendation from the Consul General of Japan at Chicago in recognition for distinguished service contributing to the friendship between the United States and Japan. Megumi was named a 2017 Woman of Influence in the category of education by the Milwaukee Business Journal. In 2020, she was named the recipient of the International Trombone Association Award, which recognizes the highest level of creative and artistic output. Megumi's first book, The One Hundred, a collection of orchestral trombone excerpts with accompanying commentary, was published in August 2015 and is a resource widely used by aspiring young trombonists around the world. Her second book, Trombone Unlimited, a comprehensive method book, was published in 2020. As a JVC/Victor Entertainment artist, Megumi recorded three solo albums: Amazing Grace, Gloria, and Mona Lisa. She also can be heard on Magnifique Live, a live recording of Megumi and other JVC artists in the August 2005 performance at Takemitsu Hall in Tokyo's Opera City. Megumi is proud to be a Greenhoe performing artist. Podcast Credits Theme Music: The Trombone Choir Arrangements of Jay Friedman, Vol. 1 Audio Engineer – Preston Shepard  Cover Art – Frank Gladstone Podcast Hosts - Noah Gladstone & John Snell

The Age of Prediction salon was co-hosted with Amy Brand, Publisher, MIT Press celebrating the publication of the new book The Age of Prediction: Algorithms, AI, and the Shifting Shadows of Risk by MIT Press authors Igor Tulchinsky and Christopher Mason. Igor is the Founder/CEO of WorldQuant, a quantitative investment firm. Christopher is Professor of Genomics, Physiology, and Biophysics at Weill Cornell Medicine and the Director of the WorldQuant Initiative for Quantitative Prediction. Alyssa Goodman, Professor of Astronomy at Harvard, co-moderates the conversation with POSTHOC founder and CEO, Susan MacTavish Best.  On the music front, Frank Almond performed on his rare, 400 year old violin, and shared the story of its theft and return. Frank held the Charles and Marie Caestecker Concertmaster Chair of the Milwaukee Symphony Orchestra for 25 years. He has also held the Concertmaster position with the Rotterdam Philharmonic with Valery Gergiev and Guest Concertmaster of the London Philharmonic with Kurt Masur. This salon was underwritten by the MIT Press. The MIT Press is a leading publisher of books and journals at the intersection of science, technology, art, social science, and design, and is widely considered the world's most innovative university press. The MIT Press has been an open access leader for over two decades, publishing hundreds of freely accessible books every year. Known for bold design and creative technology, the Press mobilizes knowledge by publishing provocative works from leading thinkers around the globe for the broadest possible impact and audience.

Embark on a journey of empowerment and advocacy with Jennifer Dirks, the dynamic President and CEO of Tempo, Wisconsin's largest women's professional group. She leads Tempo's impactful mission, providing a thriving space for women's professional growth. Guided by the powerful mantra, "The world moves when women rise," Jennifer passionately champions women's causes and encourages a spirit of mutual support among them. Tempo shines in its focus on cultivating emerging leaders. It nurtures leadership potential through coaching, sponsorship, and mentoring avenues, propelling women forward in their careers.Tune in to hear the heartwarming story of an individual whose grant application was matched by her employer, driven by their alignment with Tempo's transformative mission. Listen to Jennifer highlight Tempo's commitment to inclusivity, ensuring that every member feels a sense of belonging and that diverse voices are welcomed at all levels. Don't miss this empowering episode, where Jennifer shares her dedication to uplifting women, fostering leadership, and driving positive change through Tempo. Episode Highlights:03:05 - I think there are so many times that women have that tendency or maybe there's that stereotype that we don't support one another. But this is really a true meaning of helping one another rise. And the world can only be a better place when we continue to lift those and advocate for those around us.07:51 - They are the rising stars. They are the next generation. They're the future generation of leaders. So, they are advanced in their career. They're probably middle management type of leaders, maybe not yet–just on the cusp of that executive leadership.14:19 - I recognized that the brand and the evolution of our organization wasn't representative of the community in which we lived and were serving. And so, it was really important to me, not only from a diversity and a sense of belonging for all of our members, to ensure that that was happening, but it was diversity of thought. It was diversity of industry.Connect with Becky Dubin JenkinsLinkedInConnect with Jennifer DirksLinkedInGuest Bio:Jennifer Dirks is the first President and CEO of Tempo as of 2014. Dirks is a communications and public relations executive with more than 20 years of corporate and agency experience with business-to-business and business-to-consumer markets. Dirks also spent more than a decade as a television news reporter and producer in various newsrooms across the Midwest. She currently serves on the Board of PEARLS for Teen Girls, the Milwaukee Symphony Orchestra and the Medical College of Wisconsin Physicians Board. She spent nine years on the Milwaukee Art Museum Friends of Art Board. She is an adjunct instructor for Marquette University and an active member of Professional Dimensions and Milwaukee Women inc. She volunteers her time with Big Brothers, Big Sisters and the Lakefront Festival of Art. Dirks was named a 'Woman of Influence' and a 'Power Broker' by the Milwaukee Business Journal.

This trumpet-playing musician and bandleader was loved by Milwaukee symphony fans. Doc Severinsen appeared many times with the Milwaukee Symphony Orchestra. And in 2007 he was named Pops Conductor Emeritus in Milwaukee. His father wanted him to play the violin. He wanted to play the trombone, but his arms weren't long enough, so he settled for the trumpet. Doc toured with Benny Goodman and Tommy Dorsey and served in World War II. He became the studio musician for NBC and worked with Steve Allen on the original “Tonight Show.” He left the show for a while, until Tonight Show bandleader Skitch Henderson asked him to return and play trumpet in the band. Five years later he was the leader of the “Tonight Show” band. Doc was known for wearing gaudy clothing, joking with Johnny Carson, and playing “Stump the Band.” Severinsen has recorded many albums and won the Grammy award for best large jazz ensemble performance. In this conversation he discusses his broken marriages, how he got the name Doc and what he thinks of the unauthorized biographies.

Renowned Brian Stokes Mitchell is featured in this interview from the Morning Show archives. He will be appearing this Friday night with the Milwaukee Symphony Orchestra. Mitchell starred in Broadway in Ragtime and in revivals of Man of La Mancha and Kiss me Kate. For the latter, he won a Tony Award in 2000.

Guest hosts Carole Caine and Sandy Maxx talk with Milwaukee Symphony Orchestra's resident conductor Yaniv Dinur about the Bradley Symphony Center's upcoming live Ghostbusters concerts.

This week's episode features Jarrett McCourt. Jarrett has been named one of Canada's “hottest 30 classical musicians under 30”, and currently serves on faculty at Vanderbilt University, and performs as Principal Tuba with the Ann Arbor Symphony Orchestra and the Cabrillo Festival of Contemporary Music, and has appeared with some of the world's top ensembles including the Chicago Symphony Orchestra, the Utah Symphony Orchestra, the Detroit Symphony Orchestra, the Milwaukee Symphony Orchestra, l'Orchestre Symphonique de Montreal, the National Arts Centre Orchestra and the Canadian Brass. Passionate about mental health and suicide prevention, Jarrett has been a guest on popular music-themed podcasts including The Brass Junkie, That's Not Spit It's Condensation and Sound Mind Musician, speaking largely about ways to stabilize and improve one's mental health as a musician in the 21st century. In his spare time, Jarrett works as a supervisor with the Crisis Text Line, a global not-for-profit organization providing free crisis intervention and suicide prevention via SMS message.  Jarrett has also visited several colleges, universities and summer festivals to speak, including Northwestern University, the University of Michigan, DePaul University, the New World Symphony, and the Pokorny Low Brass Seminar. Moreover, Jarrett is a certified yoga instructor, and is a firm believer in the positive effects of mindfulness on one's happiness. In this interview we discuss the importance of mental health for all musicians at every level, how Jarrett keeps himself calm through the demanding work of audition preparation, and some suggestions about how to monitor your own mental health and offer support to others as well. Not only is Jarret a performer at the highest level, but his experience with helping others with mental health makes his advise truly special. Contact information and links Website: www.jarrettmccourt.comInstagram: www.instagram.com/jarrettmccourtFacebook: www.facebook.com/jarrett.mccourt

When Aaron Copland thought of the Far West, he probably didn't have Wisconsin in mind, but Milwaukee was the perfect location to “road test” the new edition of Rodeo. That's where Philip Rothman went for the first rehearsals of a new edition of Copland's masterpiece that I prepared. The Milwaukee Symphony Orchestra, under the direction of music director Ken-David Masur, agreed to play from a brand new set of score and parts to Rodeo. You might wonder, what was wrong with the old edition? Certainly, it's been played from thousands and thousands of times. When the piece was first published in the 1940s, a number of errors and inconsistencies crept into the parts. Although they've been corrected by intrepid orchestra librarians, it was time to get them straightened out once and for all. One reason for the inconsistencies was that the "Four Dance Episodes" from Rodeo, which is the version that most everyone is familiar with, is extracted from the full ballet. That version left a lot to be desired in the engraving department, so, with the support of The Aaron Copland Fund for Music, and in coordination with Boosey & Hawkes, the team at NYC Music Services put it all into modern software and made brand new materials for both the ballet and the Four Dance Episodes, with the goal of clarifying any discrepancies and making everything nice and easy to read. The Milwaukee players were great, and you can read more about it on the Scoring Notes web site. It must have been fate to go there, because in researching this piece, we stumbled across a fascinating interview that Copland gave in 1970 while visiting the University of Wisconsin-Milwaukee. It's thanks to the library archives of that university that we're pleased to bring you that interview here as a Scoring Notes extra. Copland talks with professor John Downey about the iconic ballets like Rodeo, the various people and musical trends which influenced him, and the divergent aspects of his own work throughout his career. You'll also hear him talk about what was current at the time and discuss the future of music. This episode is co-produced with The Aaron Copland Fund for Music, with material kindly provided from the Archives Department, University of Wisconsin-Milwaukee Libraries. More from Scoring Notes: Road report: Copland's Rodeo in Milwaukee

Andrew Weiland and Arthur Thomas of BizTimes Media get together to discuss the news of the week, including FPC Live's proposal for a new music venue in the Deer District clearing its first hurdle by getting approval from Milwaukee's plan commission. Andrew and Arthur discuss some of the arguments surrounding the project and news that FPC Live plans to also partner with the the Milwaukee Symphony Orchestra to bring concerts to the Bradley Symphony Center. Insider Story Spotlight:Tall Guy and a Grill Catering emerges stronger from pandemic, raises tide for local entrepreneurs A Brief Case: When hiring at a startup company, how do you get potential employees to buy into your vision and make the leap to join you?Biz Compass: What's the most challenging aspect of being an entrepreneur?Big Story:Deer District concert venue complex narrowly clears initial government hurdleMSO strikes deal with FPC Live to bring concerts to Bradley Symphony Center

In this episode of the podcast, the crew has “magic on the mind,” and Elisabeth, Lindsay, and David dig into magic in a variety of forms. Their banter covers a range of topics including recent magical performances in Milwaukee, the magic of physics and great guacamole, the hypothetical burden of reading minds, the possible UFO hotspot where Elisabeth was raised, and David's freaky premonition.    Luka joins the crew for an interview beginning around 18:30. He starts the conversation off by talking about how he got into magic. Leaning into a childhood summer tradition of going to the library, he took to reading books on magic tricks. After college, Luka worked as a video editor and a banker. Then, in his mid-twenties, he decided to take a risk and jump into working in magic full-time. After building up a small repertoire of gigs and making connections, Luka joined a group magic show in Branson, Missouri. Upon returning to Milwaukee several years later, he became a resident performer at the Safe House and developed his show “Deceptions,” which he launched in 2021.    In the conversation, Luka reflects on how he brands himself as a “deception artist” rather than a magician for kids. He also highlights the ways in which magic is an art form— as long as the magician portrays and conducts themselves as an artist. Luka compares the art of magic to the art of making and performing music. It involves writing, workshopping, acting, comedy, and more. But according to Luka, there is no direct path to get into magic—rather, “magic finds you.”   Lastly, as the “magician of arts and culture” Luka amazes David by, almost verbatim, invoking the same imaginary policy as the poet laureate and previous ITP guest Dasha Kelly Hamilton.   You can find info about Luka's shows at https://www.deceptionsmke.com/ (Deceptions) and https://www.safe-house.com/ (SafeHouse)  https://en.wikipedia.org/wiki/Son_Lux (Son Lux)  https://a24films.com/films/everything-everywhere-all-at-once (Everything Everywhere All at Once)  https://rafiqbhatia.com/ (Rafiq Bhatia)   https://www.cactusclubmilwaukee.com/ (Cactus Club)  https://www.bayviewneighborhood.org/chill-on-the-hill (Chill on the Hill)   https://tosatonight.com/ (Tosa Tonight)  https://www.themcouleeboys.com/ (Them Coulee Boys)  https://www.mso.org/ (Milwaukee Symphony Orchestra)  https://www.sailingcenter.org/ (Milwaukee Community Sailing Center)  https://www.youtube.com/watch?v=yqwb4HIrORM (The “Magic” or Physics of Sailing)  https://www.amazon.com/Encounter-Buff-Ledge-Case-History/dp/0929343603 (Encounter at Buff Ledge)  https://tinyrituals.co/blogs/tiny-rituals/obsidian-meaning-healing-properties-everyday-uses (Black Obsidian)  https://www.hulu.com/movie/derek-delgaudios-in-of-itself-19b9d405-40b2-483e-8e1f-e25fe10c7299 (In & Of Itself)  https://en.wikipedia.org/wiki/Harry_Houdini (Harry Houdini)  https://davidblaine.com/ (David Blaine)  https://www.davidcopperfield.com/html/ (David Copperfield)  https://en.wikipedia.org/wiki/Val_Valentino (The Masked Magician)   https://en.wikipedia.org/wiki/Dead_Poets_Society (Dead Poets Society) 

Our sponsor: Houghton Hornswww.houghtonhorns.comDavid Cohen is the Associate Principal Trumpet of the Milwaukee Symphony Orchestra. He joined the MSO in 2013 after playing Principal Trumpet with the Tucson Symphony Orchestra for three seasons. Outside of the MSO, Mr. Cohen has performed with the Chicago Symphony Orchestra, the Alabama Symphony, and has played guest principal trumpet with orchestras all over the world, including the Fort Worth Symphony, the Royal Scottish National Orchestra, the Phoenix Symphony, and the Malaysian Philharmonic.Mr. Cohen received his Bachelor's of Music from Northwestern University where he studied with Barbara Butler and Charles Geyer. He was appointed Principal Trumpet of the Tucson Symphony Orchestra during his senior year of college.  He spent one summer attending the National Orchestral Institute in College Park, Maryland and two summers as a fellow at the Tanglewood Music Festival in Lenox, Massachusetts. Mr. Cohen has had additional studies with Thomas Rolfs and Christopher Martin.  Mr. Cohen is on faculty at the DePaul School of Music in Chicago.Support the show (https://thatsnotspit.com/support/)

A few years ago, I had a colleague leave his position to play cello full time in the Milwaukee Symphony Orchestra. I've been meaning to touch

"I feel we connect best with the healers and helpers.  Those are people that are in service based businesses making an impact in the world.  To do your best work you need to align with clients that you have a connection with.” – Amber Khan In this episode, Holly & Kristin talk with Amber Khan about: Her decision to start her own business after she and her entire team were downsized by her former employer. The place where Amber drew her courage and resilience to start her business and how it keeps her focused on success. Her unique past and overcoming trauma has allowed her to develop superpowers that allow her to zero in on people's struggles and have empathy for them. Being self-driven and perfectionistic and just being a good person in the world despite a rocky start to life. Key Takeaways Having the space and freedom to work from home and raise her children has allowed Amber to do some of her best work. Being able to choose this way of life is really important. If you have an idea for a business, go for it. Put yourself out there because you never know what it will lead to.  The world needs people and talent to show up.  Women are more than just moms and wives.  Lean into your talents and bring them to the world. Amber's kids get to see what goes into having her own business and sets them up as potential entrepreneurs for the future. There are other ways to have a career and we get our kids to think differently because of what they see in us as business owners. Having mentors is so important in helping others build confidence. Get a mentor for yourself, and mentor others when you can. Trust your own voice, tune inward, and get grounded in your own thoughts and ideas. Let go of the negative voice in your head. Amber Khan is Principal and CEO at SCP Marketing.  She was born and raised in Milwaukee, WI where she decided to study English at Marquette University and then English-Technical Writing at UW-Milwaukee. While working toward her degree, she interned at Northwestern Mutual and Johnson Controls. She then spent time with the Milwaukee Symphony Orchestra, serving as their Web Facilitator before relocating to Los Angeles. During her 10 years in L.A., she worked as a content strategist for the largest legal web design company in the country and then internet giant, Yahoo! In 2008, she decided to start her own company, SCP Marketing (which stands for a 3-phase process see, create, and promote). SCP Marketing is a Wisconsin-based creative agency that specializes in branding, marketing, content strategy, and website consulting. The agency partners with business owners; self-made leaders who are passionate, driven to help others, and committed to fulfilling their life's work. Amber serves on the Board of Directors for Transplant Village and is an INSIGHT Mentor, guiding high school students who have an interest in careers related to business and marketing. She currently resides in Pewaukee, WI with her husband, two children, and their Olde English Bulldogge. Her interests include weightlifting, working out, writing, reading, baking with her kids, and uplifting people. Connect with Amber: Email:              amber@scpmarketing.com LinkedIn:          https://www.linkedin.com/in/amberkhanscpmarketing Website:          http://www.scpmarketing.com/ Instagram:       @amberkhanscp Facebook:        https://www.facebook.com/amberkhanscp   Guest Resource Links: Check out SCP Marketing's blog at: https://scpmarketing.com/blog/   UPLIFTING WOMEN HOSTS Kristin Strunk and Holly Teska Your co-hosts of the UPLIFTING WOMEN PODCAST, Holly Teska & Kristin Strunk, are women who UPLIFT other women at work and in the world.  Every other week they bring uplifting women guests to share their personal stories of challenge and triumph to inform and inspire their listeners.  The podcast also features guests who have played a significant role in honoring women and their place in the world by serving as promoters, sponsors, and coaches to the many women in their personal and professional lives. Join Holly and Kristin as they hear how their guests navigate the world of career aspirations, life, love, and family. Get advice from successful women who have figured out their own version of "secret sauce" to create the life they love. Holly believes the world needs the best leaders it can build; those who demonstrate integrity, empathy, humility, vision, positivity, and confidence. This type of leader brings out the best in others and delivers outstanding results. Holly feels we need everyone to perform at 100% to making our world a better place. Holly's experience in leadership, executive coaching, and talent development is the foundation of her career.  She has helped bright and motivated leaders become the very best versions of themselves. Through direct feedback, reflection, experimentation, and honest conversation, she will push you to excel at what you were called to do. Holly is especially committed to helping women navigate the choppy waters of today's fast-paced workplace and evolving world conditions but works with many different individuals and situations.  She welcomes inquiries for leadership and executive coaching and speaking engagements. Kristin's experiences have led her to the simple conclusion that leadership is simple - maybe not always easy, but simple.  Her work supporting leaders in finding their voices inspired her to find her own voice in the space of employee experience and leadership development.  She often hears the question that isn't being asked and is skilled at facilitating conversations and building relationships.  She has helped executives lead organizational transformations involving employee engagement, technology, and the new "Future of Work."  Follow her hashtag #responsibleleadership on social media to learn more about simple things leaders can do to build relationships and have a lasting positive impact. Website:         www.upliftingwomen.net   Connect with Holly: LinkedIn:        https://www.linkedin.com/in/hollyteska Twitter:           https://twitter.com/HollyTeska Facebook:       https://www.facebook.com/holly.teska Instagram:      https://instagram.com/HollyTeska Personal Website:         www.hollyteska.com Email:              holly@upliftingwomen.net   Connect with Kristin: LinkedIn:         https://www.linkedin.com/in/kristin-strunk Twitter:           https://twitter.com/leadadvisor Facebook:       https://www.facebook.com/kristin.t.strunk Instagram:      https://instagram.com/ktuttlestrunk Personal Website:         https://regentleadershipgroup.com/ Email:              kristin@upliftingwomen.net  

BECOME A PRODUCER! http://www.patreon.com/themidnighttrainpodcast   Find The Midnight Train Podcast: www.themidnighttrainpodcast.com www.facebook.com/themidnighttrainpodcast www.twitter.com/themidnighttrainpc www.instagram.com/themidnighttrainpodcast www.discord.com/themidnighttrainpodcast www.tiktok.com/themidnighttrainp   And wherever you listen to your favorite podcasts.   Subscribe to our official YouTube channel: OUR YOUTUBE   Support our sponsors www.themidnighttraintrainpodcast.com/sponsors   Ep. 112 Haunted Venues   On today's episode we're going on tour!!! That's right Moody and myself are heading back out on the road and this time we're bringing Logan to carry our shit instead of us lugging everyone else's shit! Why are we heading out on tour you ask? Well it's because we are doing a tour of haunted music and theater venues throughout the world! This is an episode we've been wanting to do for a while especially because we've been to quite a few of these places! There's even one in our home town! Like we have at that certain Cleveland venue, we're sure some of our listeners have spent a ton of their time at some of the venues on the list. This is gonna be a fun one for us so hopefully you guys love it too! First up we've got a big one that will be on every list of haunted venues. The House Of Blues in Chicago. So the history of the building took a bit to find because every search for the house of blues in any city comes up with the main house of blues page but with a little digging we found some info on the building's history. The House of Blues is part of a complex called The Marina City complex. The Marina complex is also known as the Corn cob apparently, and looking at it… You can see why. If you're listening in Chicago and are like "what the fuck, nobody calls it that", will remember our mantra.. Don't blame us, blame the internet… Although we did find that reference in a couple spots. The Marina is a mix of residential condos and commercial buildings built between 1961-1968. The complex consists of two 587-foot, 65-story apartment towers, a 10-story office building which is now a hotel, and a saddle-shaped auditorium building originally used as a cinema. When finished, the two towers were both the tallest residential buildings and the tallest reinforced concrete structures in the world. The complex was built as a "city within a city", featuring numerous on-site facilities including a theater, gym, swimming pool, ice rink, bowling alley, stores, restaurants, and, of course, a marina. WLS-TV (ABC Channel 7) transmitted from an antenna atop Marina City until the Willis Tower (formerly known as Sears Tower) was completed. Marina City was the first post-war urban high-rise residential complex in the United States and is widely credited with beginning the residential renaissance of American inner cities. These days the complex is home to the Hotel Chicago, 10pin bowling lounge, and several restaurants including… You fucking guessed it... Dick's Last Resort bitches!!! Oh and also the complex is home to the house of blues. The house of blues was built in the shell of the cinema which was out of use for quite some time. The story is that the hob is haunted by the spirit of a little girl that died due to an illness. There are many reports of weird things happening. The most circulated story seems to be that of a little boy who was playing with some of his toys toys. As he was playing he stepped away for a moment and when he came back he saw a little girl playing with his toys. She asked him if he'd like to play with her. FUCK THAT SHIT!!!! The little boy screamed and the girl vanished. Oddly enough, I did find a comment on one website from a man named Skyler seeming to corroborate this story. The comment reads as follows:              " This can not be… no way… I have performed there 2 times. once was in 2013, and there was a boy in the back playing with his cars. a few minutes after he screamed and started to cry. I was feeling bad,, but this can't be him… also know that in 2015 in march i had another performance and all the lights turned off. This is too creepy."   Was this the same boy that the story is referring too? Who knows. We also found several comments from people staying in what we assume is the hotel Chicago as it's in the complex and pretty much right next to the house of blues. There's comment also claim the hotel is haunted. One of the claims says this:            "It's haunted!!! I saw a middle aged/older woman (dressed in clothing from a period long ago) in my room when I stayed there in 1999/2000. I woke in the early morning to see a woman staring at me. I went through a rational thought process of it being my female business colleague (who stayed in a separate room) and I thought, oh well she can sleep in the other bed (it was a double room & I was in the bed furthest away from the front door) and then quickly snapped out of it and said to myself she has her own room why would she be in my room, I opened my eyes again and that's when I could see it was a woman clearly (w/ angry face) staring at me. I then thought this is a stranger/intruder in my room – I laid there with my eyes just open enough to see – she was there staring at me & she still didn't look happy. I laid there thinking of what to do – I decided I was going to reach and turn the light on and then charge her or run after her when she ran for the door (fortunately, there was a switch right next to the bed). HOWEVER, when I reached for the light and turned it on she was gone. This is what makes this story interesting — I called the front desk and simply asked, ‘had anything significant ever happened at the site of the hotel' (b/c as the person above points out, its not an old or historic looking building (e.g. PreWar). I asked another question that any tourist could have just asked (I don't recall what it was right now). She said immediatley, “No, why did you see a ghost?” My response was, yea, I saw a ghost, I'm in my twenties and not some nut job.” I asked if anyone else had ever reported seeing a ghost and she said, “No.” Anyway, when I met up with my colleague, she could tell I was shaken up and I was pretty pale (like “I had seen a host.”). My story has never changed in all this time. I did stay at the hotel 1 other time after (not in the same room) & didn't see anything – but I slept with the bathroom light on… Scary & Cool experience for sure!"   Sounds spooky!    Next on our list of haunted venues we are heading to Milwaukee! Which is actually pronounced meely waukay, which is Algonquin for the good land. Now the Rave is amazing for several reasons: first it's the location of one of Moody's favorite tour stories which also involves Jon and our friend Brad from Voudoux.  2: it's huge and creepy as shit. 3: the pool... The Rave/Eagles Club is a 180,000 square foot, seven-level, live entertainment complex in Milwaukee, Wisconsin. The building contains eight independent clubs with capacities ranging from 400 to 3500. The Eagles Ballroom is the building's showpiece, featuring a 25,000 square feet (2,300 m2) oval wooden dance floor, originally installed when the building was constructed, in addition to a large, old-fashioned domed ceiling and a stage on one side. Originally a ballroom, it has hosted everything from boxing matches to concerts to ethnic dances. The ballroom head hosted huge acts ranging from Bob Dylan to Green day, from the grateful dead to slayer and of course none other than Lil Pump.    Along with the eagles ballroom, the building houses the Rave hall, The eagles hall, the Rave bar, The Rave craft beer lounge, The penthouse lounge, and the eagles club.  Since its construction in 1926, the Eagles Club has known several incarnations. Prominently among them, it housed the Fraternal Order of the Eagles, a notable organization whose considerable impacts on America's cultural landscape remain in effect today.   In 1939, the idea of using the building for music presentations took hold, reinventing its purpose. The grand ballroom became a popular venue for big band music, such as band leaders Guy Lombardo and Glen Miller and their orchestras. Soon, other types of music, theatre and performing arts also offered shows and concerts in the large, elegant ballroom; from 1939 through the mid-sixties. Comedians like Bob Hope and Red Skeleton did stand-up comedy. In 1959, people who bought a $1.50 ticket to the Winter Dance Party, were treated to the music of Buddy Holly and the Crickets, Big Bopper, Dion and the Belmonts, and Richie Valens. This would be the last show for buddy Holly before he died. In 1964, The Eagles Club had its first rock concert, with the Dave Clark Five performing on the ballroom stage. The 1970s brought even more famous groups and people, such as Eric Clapton, Crosby, Stills and Nash and other rising rock stars.When the Athletic Club was closed, a homeless men's shelter opened up temporarily in the basement area, providing shelter for the destitute which is life-saving during the freezing winter months. By the late 1980s, The Eagles Club was in a state of disrepair and The Eagle Club put it out on the real estate market, after getting it listed on The National Register of Historic Places, in 1986.  In late 1992, the Eagles Club was rescued when it was bought by Wauwatosa businessman Anthony J. Balestrieri and his wife, Marjorie, who performed in the Milwaukee Symphony Orchestra. They began the long process of restoring the historic beauty of the elegant ballroom and interior art, as well as the outside facade. They also restored and renovated other areas turning the building into the multi venue building it is today.    We wanted to include this history because: A. We love the history of places like this and B. It shows how many things this building way used for and how many people have passed through the building. We all know where there tons of history there tends to be ghost stories!    Let's get into the spooky shit! Remember the pool we mentioned earlier… Well at one point a 17 year old boy had a fucking heart attack and died in the pool. Later, at least two more children would die in the pool. This would ultimately cause the closure of the athletic club.  Also the man who ran the homeless shelter was said to be extremely cruel and abusive to the men staying there.    The basement area which is the home of the former men's shelter, is one of the more haunted areas. The shelter manager mentioned earlier is thought to be the reason behind the heavy negative energy felt there. Cold spots are often felt by staff in the late hours after closing. Shadow people have often been reported by staff as well as band members packing up after a show.    Next is the pool area, which we've seen and it's fucking creepy. A little girl is said to roam around the area. People have heard her laughter and have said her presence can bring a sense of dread. Staff have said they have heard shuffling footsteps and have smelled a strong odor of bleach in the pool area.    In the boiler room under the pool, a former employee still hangs and he doesn't like people in his area. "Jack" was once recorded telling a group on a ghost hunt to "get out, get out now" Apparently, you can find a video of this on YouTube, we'll try and find it to post on our page.   The ballroom has had its share of apparitions hanging around during sound checks and after shows when everyone has left. An employee told a story of when he was standing on the floor of The Eagles Ballroom, making sure that the people going to the roof patio didn't “get lost” and go into the Eagles Ballroom by design.  He said that one of his fellow workers had seen what they thought was a man, standing in one of the second floor boxes located above the Eagles Ballroom. He called security and when they approached this person, he ran down the aisle but disappeared before the staff person that was behind him and the security person cutting off his escape could try to grab him.    One other common theme is people hearing either happy laughing children or sad crying children. Some staff have stated they've seen entities of children playing in groups.    We've been here.. This place is awesome. Also another fun tidbit… not to far away from the Rave is the ambassador hotel. Which of you're up on your serial killers, you know is the place where Jeffrey Dahmer killed his first victim in Milwaukee. Steven Tuomi was Jeffrey Dahmer's first victim in Milwaukee. Dahmer met Tuomi in September of 1987. At the time, Dahmer was out on probation after molestation charges of a minor. The two men spent the night together drinking heavily and visiting multiple bars. Later that night, they ended up in a room together in the Ambassador, room 507, which is a room some Dahmer historians have requested to stay in. Dahmer killed Toumi while he was in a drunken stupor. Upon waking up to find Tuomi dead, Dahmer put the body in a suitcase and took it to his grandmother's house where he was living. In the basement, he acted out necrophiliac desires and then dismembered the body. Supposedly when Dahmer awoke to find Tuomi dead, the body was in an awkward position hanging off the side of the bed. Some visitors have reported instances of waking up to discover their partner in a similarly awkward position.   Visitors to room 507 have reported a variety of experiences, such as a heaviness to the room that they can't quite explain. Some people get woken up in the middle of the night by odd circumstances. There's an extra little bit for ya!!!   Info on the Hauntings and most of the historical facts on the Rave was taken from an excellent article on hauntedhouses.com   Next up we're gonna head across the pond, so to speak. We're heading to London and the famous Royal Albert Hall! This place has a long and rich history behind it. The Royal Albert Hall was built on what was once the Gore estate, at the centre of which stood Gore House. The three acre estate was occupied by political reformer William Wilberforce between 1808-1828 and subsequently occupied between 1836-1849 by the Countess of Blessington and Count D'Orsay.   After the couple left for Paris in May 1851, the house was opened as the ‘Universal Symposium of All Nations', a restaurant run by the first celebrity chef, Alexis Soyer, who planned to cater for the Great Exhibition in Hyde Park.   After the exhibition and following the advice of Prince Albert, Gore House and its grounds were bought by the Exhibition's Royal Commission to create the cultural quarter known as Albertopolis. A complex of public Victorian buildings were developed to house exhibits from the Great Exhibition and to further the study of art, science and industry. On May 20, 1867 7,000 people gathered under a purpose-built marquee to watch Queen Victoria lay the Hall's red Aberdeen granite foundation stone, which today can be found underneath K stalls, row 11, seat 87 in the main auditorium. The Queen announced that “It is my wish that this Hall should bear his name to whom it will have owed its existence and be called The Royal Albert Hall of Arts and Sciences”, as a 21 gun salute was heard from Hyde Park and a trumpet fanfare from HM Life Guards sounded. By December 1870 construction of the Hall had moved on so much that HM Queen Victoria and her daughter Princess Beatrice visited the Hall to listen to the acoustics.   Almost three months later, on 25 February 1871, the Hall's first concert was held to an audience for 7,000 people comprising the workmen and their families, various officials and the invited public. Amateur orchestra, The Wandering Minstrels, played to test the acoustics from all areas of the auditorium.    This place has been running as a venue for 150 years! Again… History breeds ghosts and Hauntings! There's so much history in this building that we are not going to be able to include but please check out the official website for the royal Albert Hall to really drive into the history of this place. You won't be sorry you did. We gave you the beginnings to show how long this place has been around. We're gonna get right into the spooky shit though!    On 13 July 1930 the Spiritualist Association rented the Royal Albert Hall for a seance for Sir Arthur Conan Doyle, following the death of the Sherlock author on 7 July.   Conan Doyle was a spiritualist and believed in the existence beyond the grave. Upon his death 10,000 people gathered expectantly in the Hall to watch a medium take to the stage, hoping to witness some supernatural activity and hear a message from Conan Doyle from the other side…          Lady Doyle: “Although I have not spoken to Arthur since he passed, I am certain that in his own time and his own way he will send a message to us” Time Magazine, 21 July 1930   Lady Conan Doyle took to the stage alongside members of his family, with a vacant chair on her right reserved for her late husband.Time Magazine, who attended the seance, reports:   ‘Mrs. Estelle Roberts, clairvoyant, took the stage. She declared five spirits were “pushing” her. She cried out their messages. Persons in the audience confirmed their validity. Suddenly Mrs. Roberts looked at Sir Arthur's empty chair, cried: “He is here.” Lady Doyle stood up. The clairvoyant's eyes moved as though accompanying a person who was approaching her. “He is wearing evening clothes,” she murmured. She inclined her head to listen. A silent moment. Her head jerked up. She stared at Lady Doyle, shivered, ran to the widow, whispered. Persons nearby could hear: “Sir Arthur told me that one of you went into the hut [on the Doyle estate] this morning. Is that correct?” Lady Doyle, faltering: “Why, yes.” She beamed. Her eyes opened widely. The clairvoyant to Lady Doyle: “The message is this. Tell Mary [eldest daughter]…' Time Magazine, 21 July 1930   At this the audience rose in a clamor, and the great organ of the Hall began to peal, the noise drowning out the answer of Mrs Roberts.   But what was the message delivered to Lady Doyle that night? Did the ghost of Sir Arthur Conan Doyle really visit the Royal Albert Hall on that night in 1930?   Seances are always fun and definitely work as we found out...yea...right….   Here's some more stories taken straight from the RAH website!   THE GIRLS Beneath the Door 6 foyer, in the carpeted basement area, there is one spot where two young women, known as ‘the girls', briefly appear each  November 2nd a little before 2am, when the building is almost deserted, except for some security staff.   Over the years, several staff members reported hearing ‘the girls' laughing, and seeing their animated and excited silhouettes appear, clothed in the fashion of slightly risqué Victorian ladies (extravagant long dark dresses embellished with lace from neck to bodice, with many ruffles, especially around the sleeves and hem, and their hair styled in cottage-loaf buns with ringlets hanging over their ears). The Duty Security Incident Book indicates that there had been appearances by ‘the girls' for the three years prior to 1991. They have been seen passing across the foyer space, which is bounded by double doors at each end, leading on one side to the staff canteen (where we still eat today) and on the other to the kitchen corridor, and then disappear. That is why some believe that ‘the girls' may be responsible for unexplained accidents, tappings and footsteps that occur behind locked doors late at night in the kitchens. Assistants Chefs, who have to clean the kitchen every night after use, often used to hear noises and have been frightened whilst in that area.    FATHER WILLIS Whenever restoration work is carried out on our organ, its original constructor Henry Willis, fondly nicknamed ‘Father Willis', returns as a stooped ghost wearing a black skull cap. When the organ was being reconstructed in 1924, workmen saw a little old man walk down the stairs late one afternoon. On returning to their workshop and relating the facts, their foreman asked what the man was wearing. When told that he was donning a black skull cap, the foreman decided it was the ghost of Father Willis, the original builder of the organ, long since dead, who would not approve of the alterations being undertaken. Since then there have been many reports of a sudden cold atmosphere in the area behind the organ.   When interviewed in 2018, Michael Broadway, the Hall's organ custodian was asked if he had ever seen signs of the legendary ghost of Henry Willis. He answered: “I remember the organ builder Clifford Hyatt telling me about this over forty years ago. The tuner […] was making the final visit of the Willis contract before the Harrison & Harrison rebuild in the 1920s. When he got up on to the Great passage board he saw Father Willis there saying ‘They shan't take my organ from me'. A lovely story, but I haven't seen him. There are many questions I would ask him and hopefully have his approval of the way I look after this instrument. Perhaps he has no reason to be disturbed.”    THE MAN IN WHITE During a Jasper Carrott comedy event in May 1990, the Duty Manager was ordered to clear the Middle Choir seats and to post a Steward at either end to avoid anyone entering as it is very distracting for a performer to have people walking across the back of the stage during the show. That's why a very angry Stage Manager demanded on radio to know why there was someone crossing the stage. The description was of a man dressed in white, walking oddly as if on drugs. The Stewards insisted no one had passed them and on further investigation no one except Jasper Carrott was onstage, but several people had seen the figure cross the stage from left to right.   THE VICTORIAN COUPLE A staff member during the 2000s reported having seen a couple in Victorian clothing walk across the second tier near to Door Six and vanish into a box. As a venue whose history is so closely tied to the Victorian times, this didn't seem particularly odd (people dress up sometimes…)   But in 2011, a Head Steward was finishing off his shift one evening and had made sure that all members of the public had left the second tier. On going downstairs into the auditorium, he noticed a couple sitting in the box so he returned to the second tier but found no one in the box. He assumed they had left while he was on his way back, so once again he returned to the auditorium… Only to see them again. So he went back to the second tier, and that's when he heard the couple chattering. He assumed they were in the box but on opening the door, there was no one there.   There are several more accounts on their website and tons and tons of stories all over the web about experiences at the historical venue. It sounds like it's one crazy place!!!   We've got a couple more for you guys.                Next up is another club we've been too, the Masquerade in Atlanta. The Masquerade features three indoor venues with capacities ranging from 300 to 1000, appropriately named Heaven, Hell and Purgatory.  The Masquerade was founded in 1988 at the historic DuPre Excelsior Mill, a former excelsior mill at 695 North Avenue in the Old Fourth Ward neighborhood. The venue had both indoor and outdoor concert space. It was sold in 2006 and moved in late November 2016 after it was made part of a new mixed-use development called North + Line. The building was designated as historic by the city and all of the original parts will be saved through adaptive reuse. The masquerade had hosted tons of national and local acts from cannibal corpse to the greatest entertainer in history, Weird Al Yankovic.     This night club is said to be visited by the spirits who died in fire and tuberculosis outbreaks long ago, both of which killed several members of the building's former staff. Apparitions have been seen and unexplained footsteps have been reported.One popular story is that of a large and tall black man who is always seen walking around the nightclub. The staff believes that it is this man who turns the musical amplifiers every night.   The staff has also reported hearing footsteps from unidentified sources, as well as cold spots all throughout the building. Horrifying screams can also be heard coming from the back of the stairs even when there is no one there. They believe that the screams come from the young woman who died in a freakish accident in the nightclub. Nowadays, there are rumors that real vampires come to the nightclub and even live there.  Some people believe that this rumor has been spread to promote business as vampires have suddenly become very popular.   Next up were heading to Nashville and a place the Moody had been to, but not for music, for the national beard and mustache competition. He did not place unfortunately. The auditorium opened as the Union Gospel Tabernacle in 1892. Its construction was spearheaded by Thomas Ryman, a Nashville businessman who owned several saloons and a fleet of riverboats.When Ryman died in 1904, his memorial service was held at the tabernacle. During the service, it was proposed the building be renamed Ryman Auditorium, which was met with the overwhelming approval of the attendees. The building was originally designed to contain a balcony, but a lack of funds delayed its completion. The balcony was eventually built and opened in time for the 1897 gathering of the United Confederate Veterans, with funds provided by members of the group. As a result, the balcony was once called the Confederate Gallery.[5] Upon the completion of the balcony, the Ryman's capacity rose to 6,000. A stage was added in 1901 that reduced the capacity to just over 3,000. Though the building was designed to be a house of worship – a purpose it continued to serve throughout most of its early existence – it was often leased to promoters for nonreligious events in an effort to pay off its debts and remain open. In 1904, Lula C. Naff, a widow and mother who was working as a stenographer, began to book and promote speaking engagements, concerts, boxing matches, and other attractions at the Ryman in her free time.  Naff gained a reputation for battling local censorship groups, who had threatened to ban various performances deemed too risqué. In 1939, Naff won a landmark lawsuit against the Nashville Board of Censors, which was planning to arrest the star of the play Tobacco Road due to its provocative nature. The court declared the law creating the censors to be invalid W.C. Fields, Will Rogers in 1925, Charlie Chaplin, Bob Hope with Doris Day in '49, Harry Houdini in '24, and John Philip Sousa (among others) performed at the venue over the years, earning the Ryman the nickname, "The Carnegie Hall of the South". The Ryman in its early years also hosted Marian Anderson in 1932, Bill Monroe (from KY) and the Bluegrass Boys in '45, Little Jimmy Dickens in '48, Hank Williams in '49, The Carter Sisters with Mother Maybelle Carter in 1950, Elvis in '54, Johnny Cash in '56, trumpeter Louis Armstrong in '57, Patsy Cline in '60, Lester Flatt & Earl Scruggs (bluegrass) in '64, and Minnie Pearl in '64. The Grand Ole Opry was first broadcast from the Ryman on June 5, 1943, and originated there every week for nearly 31 years thereafter. Every show sold out, and hundreds of fans were often turned away. During its tenure at Ryman Auditorium, the Opry hosted the biggest country music stars of the day and became a show known around the world. Melding its then-current usage with the building's origins as a house of worship, the Ryman got the nickname "The Mother Church of Country Music", which it still holds to this day. The last Opry show at the Ryman occurred the previous evening, on Friday, March 15. The final shows downtown were emotional. Sarah Cannon, performing as Minnie Pearl, broke character and cried on stage. When the plans for Opryland USA were announced, WSM president Irving Waugh also revealed the company's intent to demolish the Ryman and use its materials to construct a chapel called "The Little Church of Opryland" at the amusement park. Waugh brought in a consultant to evaluate the building, noted theatrical producer Jo Mielziner, who had staged a production at the Ryman in 1935. He concluded that the Ryman was "full of bad workmanship and contains nothing of value as a theater worth restoring." Mielziner suggested the auditorium be razed and replaced with a modern theater. Waugh's plans were met with resounding resistance from the public, including many influential musicians of the time. Members of historic preservation groups argued that WSM, Inc. (and Acuff, by proxy) exaggerated the Ryman's poor condition, saying the company was worried that attachment to the old building would hurt business at the new Opry House. Preservationists leaned on the building's religious history and gained traction for their case as a result. The outcry led to the building being added to the National Register of Historic Places in 1971. Following the departure of the Opry, the Ryman sat mostly vacant and deteriorating for nearly 20 years, as the neighborhood surrounding it continued to see the increasing effects of urban decay.  In 1986, as part of the Grand Ole Opry 60th-anniversary celebration, CBS aired a special program that featured some of the Opry's legendary stars performing at the Ryman. While the auditorium was dormant, major motion pictures continued to be filmed on location there, including John Carpenter's Elvis (1979), Coal Miner's Daughter (1980 – Loretta Lynn Oscar-winning biopic), Sweet Dreams (1985 – story of Patsy Cline), and Clint Eastwood's Honkytonk Man (1982). A 1979 television special, Dolly & Carol in Nashville, included a segment featuring Dolly Parton performing a gospel medley on the Ryman stage. In 1989, Gaylord Entertainment began work to beautify the Ryman's exterior. The structure of the building was also improved, as the company installed a new roof, replaced broken windows, and repaired broken bricks and wood. In October 1992, executives of Gaylord Entertainment announced plans to renovate the entire building and expand it to create modern amenities for performers and audiences alike, as part of a larger initiative to invest in the city's efforts to revitalize the downtown area. The first performance at the newly renovated Ryman was a broadcast of Garrison Keillor's A Prairie Home Companion on June 4, 1994. Beginning in November 1999, the Opry was held at Ryman Auditorium for three months, mostly due to the success of the January shows, but partly due to the ongoing construction of Opry Mills shopping mall next door to the Grand Ole Opry House. The Opry has returned to the Ryman for all of its November, December, and January shows every year since then, allowing the production to acknowledge its roots while also taking advantage of a smaller venue during the off-peak season for tourism and freeing the Grand Ole Opry House for special holiday presentations.The Ryman has also served as a gathering place for the memorial services of many prominent country music figures. Tammy Wynette, Chet Atkins, Skeeter Davis, Harlan Howard, Bill Monroe, Waylon Jennings, Johnny Cash, Billy Block, George Hamilton IV, Earl Scruggs, and Jim Ed Brown have all been memorialized from the Ryman stage. In 2018, the Ryman was named the most iconic structure in Tennessee by Architectural Digest. And just because….On June 9, 2019, Wu-Tang Clan performed the first pure rap concert ever at the Ryman. The concert was sold out.   Again, we like to give history on these places for context and honestly it's just interesting to us so whatever. But this again illustrates the point that many crazy things happened here over the years as many many people have passed through this auditorium… Including Moody.   Ok, so let's get to the ghosts and spooky shit. Ryman's spirit was fine with most performances but would rise if the people onstage were getting a bit risqué. Apparently, he disrupted shows by stomping around the room so loudly that spectators were forced to leave. Famously, the ghost wreaked havoc while the opera Carmen was taking place. Probably because it tells the story of a gypsy temptress.    During the grand ole Opry period, rumors surfaced that the venue was cursed since apparently, most singers that performed there wound up dead. A total of 37 people met their fate in the most gruesome ways, dying from O.D.s, car accidents, fires, or slaughterings. Among the artists believed to have succumbed to the curse are: Stringbean Akeman, Patsy Cline, Texas Ruby, and many more. In a blog post by Virginia Lamkin titled Haunted Ryman Auditorium, the author explains that when the show relocated to the Opryland USA theme park, 14 additional acts died. It is believed that the curse followed because a large portion of the Ryman Auditorium stage was cut out and brought to the new location.   The spirit often referred to as “The Grey Man,” is believed to have been one of the Confederate soldiers who frequented the auditorium during post-war gatherings. Some say they've witnessed him sitting in the balcony while artists rehearse. He watches the stage steadily but disappears as soon as anyone gets too close.   ”The lady,” on the other hand, isn't a spectator; she's a performer. Believed to be the ghost of Patsy Cline, she has been heard singing by staff. Usually, her performance happens late at night as they prepare to close. Patsy Cline, who died tragically in a plane crash, has also been linked to the Opry Curse. Could the curse not only kill but also trap artists in the venue?   Speaking of Opry Curse victims, Hank Williams is said to have been another casualty. The successful singer/songwriter passed away in 1953, after mixing prescription drugs with alcohol. Similar to the other artists haunting the auditorium, Hank's voice has been heard clear as day by employees. They have also heard his songs being played onstage, without explanation. Along with Patsy, Hank Williams' soul has lingered in the old venue ever since he passed.   The info on the history of the ryman comes mostly from their own website while the stories of the hauntings we found on the website ghostcitytours.com   Next up is the Phoenix theater in Petaluma California. The club has been in existence since 1905 and has changed in both structure and purpose, mostly due to severe damage caused by several fires. Petaluma's Phoenix Theater has been entertaining Sonoma County residents for over 116 years. Hosting everyone from the likes of Harry Houdini to Green Day, the fabled teen center and music venue has a varied and interesting history.   The entertainment center opened in 1904 as the Hill Opera House. The structure was designed by San Francisco architect Charles Havens, who also designed Petaluma's Carlson-Currier Silk Mill in 1892. The Beaux Arts-style theater hosted operas, theatrical performances, high school graduations and music for over 15 years until the early 1920s when it was gutted by fire.   In 1925, the venue reopened as the California Theatre playing silent films accompanied by music. A Jan. 24, 1925, Press Democrat article proclaimed the showplace the “largest playhouse in Petaluma and one of the finest theaters of Northern California.” A packed house attended the opening night performance which include a double feature picture show and live entertainment.   The theater switched to movies with sound in later years and lost major sections of its roof to a second fire in 1957. Petaluma's Tocchini family bought the floundering venue in 1967 switching to a program of live music and entertainment.   In 1983, the theater was renamed the Phoenix - reflecting its ability to be reborn from the ashes. Tom Gaffey, a young man who had grown up in Petaluma and worked at both the California and the Showcase theaters, was hired as manager, a position he holds to this day. The theater gained unwanted attention after a late-night performance by the band Popsicle Love Sponge performed a questionable act with the body of what was believed to be a dead chicken. The late-night shows ended, but the movies continued for a short time.   Today the venue serves as a graffiti-covered teen center and venue for rock, punk, reggae and more. In 1996, it hosted the last show of the Long Beach ska band Sublime as well as rock and punk legends the Ramones, Red Hot Chili Peppers, X, Metallica and Primus. The guiding principle of the Phoenix has always been that it's "everyone's building" and this was formalized in the early 2000's when the Phoenix became a 501(c)3 nonprofit  community center.   This place sounds pretty awesome. This following except it's taken directly from their website :               The Phoenix Theater is open seven days a week, generally from 3pm to 7pm, for drop-in “unstructured” use. Our building interior is large and soulful, with several rooms to accommodate a variety of activities. On a typical afternoon, you'll find kids playing acoustic music (we've got two pianos and a big stage), skateboarding (across the large wooden floor and up one of four quarter-pipe ramps), doing homework in the tutoring room, or sitting in one of the overstuffed sofas: reading, talking with friends, or napping. There's always a staff member onsite, but the atmosphere is casual.    On top of this they have free music programs from lessons to recording to production to podcasting to band management and everything in between. Also they have many programs for teens in the art community to hone their skills. Not only that they have a teen health center to help inform teens and help them make better, more  conscientious choices regarding their personal health. They also have services for  transitive health and STD help as well. We feel like every town needs a place like this. Especially if it's haunted!!! Speaking of which we found an interview that Gaffney did where he talks about some of his experiences and other things that have happened. The following was taken from petaluma360.com:   Gaffey began by talking about his earliest days. “It was my job to close the theater down. By 10:15 it would just be me, and whatever people were watching the movie. Near the end, I'd go up to the projection booth. After the audience exited, I'd turn off the projector, come down onto the stage where the sound equipment was, turn off the amps, check doors, balcony, bathrooms, lock the doors, hit the security alarm, then go out the door by the box office.”   On three separate nights, as he was leaving, the box office phone rang.   Gaffey explained the building had five phone stations. The light on the box office phone indicated the call was from the projection booth.   “I'd have to turn off the alarm and pick up the phone. ‘Hello? Hello? Hello?' But there was nobody there.   “You can't believe in ghosts when you're shutting down a theater. You have to check.   “Three times I mustered my courage, turned the lights back on and burst into the projection booth. There was no one there.   “That was my first experience, when I was an unknown here, a spooky ‘welcome back.'”   Gaffey is quick to temper his conversation with “it could have been” and “maybe someone playing pranks.” He keeps an open mind. Ghosts or explainable experiences: it's for the individual to decide.   “Blue lights have been seen floating through the building. There's the Little Kid: he'd been seen even when I was a kid working down here. And one night, sleeping on stage as a teen, I could hear and feel big footsteps. I never felt afraid.   “The big guy has been felt by many over the years,” Gaffey said. “We named him Chris. Big Chris. He's the only ghost - if there are ghosts here - who's not from a show business background.” He added that psychics who've visited the theater have talked about Chris dating to the livery stable-era and that someone was murdered on this spot, possibly with a knife.   But Gaffey continued firmly, “My experiences in this building have been warm and protective. “Chris had the spirit of the Phoenix before it became what it is. Chris may have loved this spot. I think it's one of the coolest corners in town.” He commented he sensed from the warmth he felt as he was talking that Chris was on stage, observing.   Then there's the Little Kid - a boy. “That's an interesting one,” Gaffey said. “Again - a psychic had come in. First off, he talked about the guy in the attic [the projection booth], said he seemed to be older, white hair and faded green, almost khaki, clothing; tall, thin with angular knees and elbows.   The older man, the psychic told Gaffey, is trying to make good on something wrong he felt he did to a child. The psychic added the old man hadn't, however, done anything.   “I'm wondering,” Gaffey said, “if it's the little boy. This was the fly area” - the area to the rear of the stage where backdrops hung. “With stuff hanging here and ladder work, maybe the kid was injured. He's been seen by many. He's got shaggy hair, maybe less than five feet, wearing shorts or knickers, a wool suit and a cap, from the 1920s.”   In the 1990s, a security guard for the thrash metal band GWAR got down off a ladder and asked, “Who's that little kid back there in the exit?” When no one could find the boy, the guard quit.    There is much more to the interview and we would definitely recommend checking it out! We've got one one more venue for you guys even though there are a bunch more out there. Some of the more well known and covered places like Bobby Mackey's in Kentucky, The Avalon in Hollywood, Le Petit Théâtre du Vieux Carre in New Orleans, The rapids theater in Niagara falls NY among others we've left off but will definitely be back to cover at a future point as the history and Hauntings in these places is awesome.    So that brings us to our home town of Cleveland Ohio and to the World famous Agora Theater. Now this a place where we've both spent many nights jamming out to some great fucking shows. And yes.. Whether you like it or not… Here comes some history fuckers.    The first Agora in Cleveland, informally referred to as Agora Alpha, opened on February 26, 1966, at 2175 Cornell Road in Little Italy near the campus of Case Western Reserve University. In 1967, the Agora moved to a second building on East 24th Street near the campus of Cleveland State University. Once settled in their new location, the new Agora Ballroom, informally referred to as Agora Beta, played a role in giving exposure to many bands, both from the Cleveland area and abroad. Many artists such as Peter Frampton, Bruce Springsteen, Boston, Grand Funk Railroad, ZZ Top, Kiss and many others received much exposure after playing the Agora.[3] The Agora Ballroom was also the setting of the concert by Paul Simon's character in the opening minutes of the 1980 movie One-Trick Pony. The front facade of the Agora Ballroom was temporarily swapped for the one shown in the movie. It is also one of three locations used to record Todd Rundgren's live album Back to the Bars in 1978.   The East 24th Street building also housed Agency Recording Studios, located above the Agora. The onsite recording studio and the close proximity to radio station WMMS allowed for high-quality live concert broadcasts from the Agora. Some of these concerts were later released commercially, including Bruce Springsteen's “The Agora, Cleveland 1978”, the Cars' “Live at the Agora 1978”, Ian Hunter's “You're Never Alone with a Schizophrenic, Deluxe Edition” and Dwight Twilley Band's “Live From Agora”.   The popularity of the club led the Agora to expand during the 1970s and 1980s, opening 12 other clubs in the cities of Columbus, Toledo, Youngstown, Painesville, Akron, Atlanta, Dallas, Houston, Tampa, Hallandale, Hartford, and New Haven. However, the Cleveland location is the only one still in existence today.   In 1984, the Agora was damaged by a fire and closed.   The building currently known as the Agora first opened on March 31, 1913, with an English performance of Aida as the Metropolitan Theatre. It was the brainchild of Max Faetkenheuer, an opera promoter and conductor who had also been involved in the construction of the monumental Hippodrome Theatre on Euclid Avenue five years earlier. The new opera house was well received and did well early on, but later struggled to stay profitable. Among various uses, the Metropolitan was home to a Cleveland's Yiddish theatre troupe in 1927. This brief episode in its history came to an end a few months later in 1928 after the troupe was involved in a bus accident on the way to a performance in Youngstown; the actors were too injured to perform and the venture went bankrupt. By 1932, the venue had turned into a vaudeville/burlesque house called "The Gayety," hosting "hoofers, comics and strippers." The Metropolitan returned to its original use for a short time during the mid-1940s staging comedic musicals, but by the end of the decade stage productions had ceased and the theatre became a full-time movie house. From 1951–78, the theater offices were home to radio stations WHK (1420 AM) and WMMS (100.7 FM); the theater itself was known as the WHK Auditorium. In 1968–69 the theater was known as the Cleveland Grande. In the early 1980s, it briefly re-opened as the New Hippodrome Theatre showing movies. Following the fire which damaged the Agora Ballroom on East 24th Street, club owner Henry LoConti, Sr. decided to move to the 5000 Euclid Avenue location. Following extensive renovations, the new Agora Metropolitan Theater, the third Cleveland venue to bear the Agora name, opened in October 1986. The Agora has two rooms: a 500-person capacity, standing-room-only ballroom with adjoining bar, and an 1800-seat theater.   As far as some spooky shit goes, we were able to get some info straight from the source! We spoke with Mike who works at the agora and we got some cool stuff from him. In an email mine related the following information.            "Prior to our merger with AEG Presents, I used to lead our ‘Ghost Tours' with a group called Black Sheep Paranormal.   While I didn't know what to expect, and I wasn't exactly familiar with paranormal investigations, that quickly changed working with the group.             One of the members of the Black Sheep Paranormal group was a retired police officer. Pretty easy to say he's seen some shit, and could be characterized as fearless. Another member told him to check out the men's room, where we have a utility closest between our sinks and stalls. From past experiences, we usually get some decent activity from that closest. However, nothing occurred this time. After giving up on this spot, the team member decided to use the bathroom. Seconds later, he hears **CLAP, CLAP, CLAP** from behind his neck, and he exited the bathroom about as white as a ghost.   Oh man… Good thing he was in the bathroom in case he pissed himself!! This next story is pretty crazy. He talks about "The Cleaning Lady"!             "One of the known spirits at The Agora, who we call “The Cleaning Lady,” as you could have guessed, was responsible for cleaning the venue many decades ago. While I'm not exactly sure what happened to her, she was said to have fallen off our balcony, and died. One night, during an investigation, we were sitting in silence at the top of our balcony on the left hand side. As we sat there, we started to hear sweeping sounds. As the broom sweeps started to happen for a few seconds, all of the sudden, the sound traveled from the left side of the venue, all the way to the right side of the venue. We couldn't really explain it, but that's exactly what happened."   Wow! That's awesome! This next one would probably freak a lot of people out… but it's definitely cool.           "Another occurrence was when we were up in one of the suite boxes up in the balcony. The venue was blacked out, and from where we were sitting, you could still see the bar area in our lower level. The bar had a mini fridge up against the wall that had lighting in it. We draped it off with a black table cloth, but there was still exposed light coming from the fridge. As we're sitting there, we see a shadow fading in, and fading out of the light. Almost as if a person was pacing back and forth. We were able to see this because of the light from the fridge. As this shadow figure is pacing back and forth for a good 30 – 60 seconds, one of our team members calls out “if anyone is over by the bar, please make a sound.” And I shit you not, with no hesitation, a stack of plastic cups falls off the bar and onto the ground. That was definitely one of my favorite experiences."   Hopefully we get some action like that on our ghost hunt! Mike goes on to say that he actually got to see an apparition as well!       "Over the years, we've heard and seen many things. We've had items that turn up missing, seen plenty of white anomalies, and other occurrences. Apparitions are rare, but sounds are usually constant. We've heard bangs on our doors, we've heard voices, we've even heard music; big band music to be specific. The apparition I've seen was an unreal experience. We were sitting in the balcony, and we just saw this shadow figure in one of the seats across/behind us. The figure was perfectly human-shaped, but you could see through it. It definitely seemed like it was staring at us the whole time. Sadly, my story telling doesn't do this moment very much justice.   He said that a lot of the investigation stuff was mainly communication based with the spirits. He said they would ask  questions and they frequently got answers. We asked about how the spirits would answer and he told us:             "Most of the time in our investigations, we used dowsing rods for the questions, and asked them to cross the rods in a ‘yes or no' type of questioning. They were always responsive in this form. As long as we got it started, we usually were able to keep the questions going. Obviously, noises would happen all the time. I remember one evening just working (no event going on), but we use to have these ‘garage' type doors for our balcony entry. And for whatever reason, the spirts would not stop banging on them. Like something out of a movie, non-stop banging. That was the same day where my coworker went to use the bathroom, and as she was coming back to the office she heard “There she goes…” in a whisper type voice.   Damn! That's some crazy shit! We would like to thank Mike for his time and this incredible stories of the strange stuff that occurs at the agora! Hometown spooky shit is always awesome!  Top ten horror movie musicals https://screenrant.com/horror-musicals-best-ever-imdb/

Bobby and Nate got a chance to peek inside the new home of the Milwaukee Symphony Orchestra, the Bradley Symphony Center. Make sure to click the link and listen to cast while scrolling through the beautiful images. https://onmilwaukee.com/articles/mso-first-look

Tuesday on Lake Effect : We look at Wisconsin’s overall infrastructure grade according to the American Society of Civil Engineers’ Report Card. Then, more people got outside during the pandemic and a new report looks at how that might shift funding for outdoor recreation. Astronomy contributor Jean Creighton explains how you can best see the Northern Lights in Wisconsin. Plus, we learn about some of the obstacles the Milwaukee Symphony Orchestra overcame in renovating the Warner Grand Theatre. And a Lake Effect contributor shares an essay on seeing a light at the end of the tunnel for the pandemic. Guests: Darren Olson, vice chair of the committee on American’s infrastructure with the American Society of Civil Engineers Jason Stein, research director for the Wisconsin Policy Forum Jean Creighton, director of the Manfred Olsen Planetarium at UWM Mark Niehaus, president and executive director of the Milwaukee Symphony Orchestra; John Rolloff, senior director of operation Barbara Miner,

Jon McCullough-Benner recently released a great new book called An Auditioning Double Bassist's Tool Kit: Bowings, Fingerings, and Useful Tips for Standard Audition Repertoire.  In this book, he shares his wealth of knowledge learned over his years in a detailed and compelling fashion.   Jon joined the Milwaukee Symphony Orchestra as its Principal Bass in 2017 after serving as Principal Bass for the Oregon Symphony.  He also serves as the Assistant Principal Bass for the Grant Park Music Festival Orchestra and is an Artist-Faculty member of Roosevelt University’s Chicago College of Performing Arts.   Check out my YouTube review of this book here, and check out my 2017 conversation with Jon for more details about his background.  Enjoy!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 80+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Practizma - The Practizma practice journal is packed with research based strategies to turn your ho-hum practice into extraordinary practice.  Develop your curiosity, discipline, creativity, daring, tenacity and zen.  Take a journey with four elements each week: goal setting, reflection prompt, action challenge, and journal pages to track your practice.  Curious? Download the introductory chapter of the journal for free - this gives you an idea of what it's all about.   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging theme music by Eric Hochberg

My guest this week is composer, Dr. Matt Browne. Dr. Browne’s music has been described as “witty” and “beautifully crafted and considered.” Among many honors, Dr. Browne is the recipient of the 2017 ASCAP Foundation Rudolf Nissim Prize and has received residencies at the Milwaukee Symphony Orchestra’s first annual Composer’s Institute, Mizzou International Composer’s Festival, and the Minnesota Orchestra Composer’s Institute. Since then, Dr. Browne has collaborated with prestigious ensembles such as Minnesota Orchestra, Milwaukee Symphony, New York Virtuoso Singers, PUBLIQuartet, and Villiers Quartet. The question of the week is,"How can we get audiences excited about new music?" Dr. Browne and I discuss why people have an aversion to new music, the problematic way new music is presented to audiences, how his childhood affects his compositions today, the compositional process and premiere of his First Symphony, and the collaborative dynamic between composer and performer. You can find out more about Dr. Browne at his website, mattbrownecomposer.com, and follow him on Instagram @mattbrownecomposer.

On this episode we answer questions from our listener mailbag! For our interview we welcome Catherine Chen, Principal Bassoon of the Milwaukee Symphony Orchestra. This podcast is brought to you by Chemical City Double Reeds (www.chemicalcityreeds.com), Edmund Nielsen Woodwinds (www.nielsen-woodwinds.com), Barton Cane (www.bartoncane.com), and RDG Woodwinds Inc. (rdgwoodwinds.com)! Thank you to our wonderful sponsors!

Welcome to Arts Forward MKE, a new podcast out of the https://www.imaginemke.org/ (Imagine MKE) podcast shop. Each week on this show, we’ll sit down with an artist or arts administrator in Milwaukee and dive deep into their story – asking them about their Milwaukee origin, their early memories that sparked a love of the arts, their present work, and their vision for the future of the city. On today’s episode, we speak with Mark Niehaus, President and Executive Director of the https://www.mso.org/ (Milwaukee Symphony Orchestra). A quick note: the first handful of episodes in this podcast, this one included, were recorded before the pandemic in March – so that’s why you won’t hear any mention of its impact. Also, Lindsay shares reflections on her work in classical music, featuring a performance of the Sarabande from Bach's Cello Suite No. 4 by Phuc Phan. Support this podcast

Nick and Sebastian talk to Megumi Kanda, principal trombonist of the Milwaukee Symphony Orchestra about overcoming adversity, surprise auditions and black market orchestral excerpts.Hosted by Sebastian Vera - @js.vera (instagram) @sebastianvera (twitter) and Nick Schwartz - @basstrombone444 (instagram)Produced by Sebastian VeraMusic: Firehorse: Mvt 1 - Trot by Steven Verhelst performed live by Brian Santero, Sebastian Vera and Nick SchwartzMilwaukee Sounds: https://freesound.org/people/johnmcd/sounds/35537/

Brendan Fitzgerald blog postQuestions about Brendan's audition prep? I'm happy to answer them! - Click here to schedule a 30 minute meeting!A San Diego native and avid disc golfer, Brendan Fitzgerald joined the St. Louis Symphony in September 2019 after spending two seasons with the Seattle Symphony. During this time, he performed on numerous recording projects with Ludovic Morlot, including the recent commercial releases of Marc-André Dalbavie’s Cello Concerto, John Luther Adams’ Become Desert, and Berlioz’s Requiem.Fitzgerald began his musical studies in elementary school on piano and trumpet before discovering the electric bass in eighth grade. He played in multiple punk, metal, and acoustic folk bands before deciding to devote himself more fully to the study of orchestral literature, studying with Travis Gore, a current member of the Seattle Symphony. After some time in the San Diego Youth Symphony, he attended Interlochen Arts Academy as a senior, before pursuing a Bachelor’s degree in Double Bass Performance at Northwestern University. In 2012, he enjoyed a revelatory summer at Domaine Forget, where he worked closely with renowned pedagogues Paul Ellison and David Allen Moore. He then attended the Aspen Music Festival in 2016 and 2017 as a fellowship recipient, performing alongside members of the Pittsburgh, Dallas, St. Louis, and San Francisco symphonies.Fitzgerald’s strongest influence and mentor is his undergraduate teacher, Northwestern University bass professor Andy Raciti, with whom he had the honor to perform alongside as a frequent substitute musician with the Milwaukee Symphony Orchestra. He is excited to begin work with Stepháne Denève and the rest of his SLSO colleagues, as well as enjoy the finest barbecue in the country.Support the show (https://thatsnotspit.com/support/)

In this episode, we discuss many important topics, including curiosity and exploration in practicing, the importance of maintaining a strong technical regimen, strategies to learn and handle a lot of repertoire in the context of an orchestra job, and tactics to foster focus in the practice room.  Robert also elaborates on: How his career evolved into what it is today The different elements he got from his various teachers The importance of being eager to acquire more knowledge How books inspired his practice The importance of varying what we practice, and intentionally keeping practicing feeling rewarding Curiosity and thorough thinking as a strategy to foster focus in the practice room Using a script in practice Robert is an incredible musician, with great wisdom and I know you'll find much inspiration in what he's sharing with us today!     Robert Hanford is concertmaster of the Lyric Opera of Chicago. During the summer, he is a concertmaster and instructor at the Aspen Music Festival. Previously, Mr. Hanford was the Associate Principal Second Violinist of the Minnesota Orchestra, a member of the Milwaukee Symphony Orchestra and a member of Chicago's Grant Park Symphony. He has appeared as soloist on many occasions with the Minnesota Orchestra, the Milwaukee Symphony and other Midwestern orchestras, including the Chicago Philharmonic. He has performed with numerous chamber ensembles, most recently as a member of the Rembrandt Chamber Players. For many summers, he was concertmaster and violin instructor at the Birch Creek Music Festival in Wisconsin and performed and taught at the MidAmerica Chamber Music Festival, the Milwaukee Chamber Music Festival and the Roycroft Chamber Music Festival. In addition to his professional career as a violinist, Robert has studied and performed on the theremin, one of the first electronic instruments. Robert is also an amateur artist blacksmith, having attended courses of study in Wyoming and Illinois. Other interests include table tennis, juggling, unicycling, and high-voltage electronics. Mr. Hanford lives in Evanston, Illinois, with his wife Sheila, also a violinist. They have three sons.     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Haley Bangs, a native of Colorado Springs, Colorado, is the Second Flute of the Cincinnati Symphony Orchestra. She previously served as Assistant Principal/Second Flute of the Omaha Symphony, and Principal Flute of the United States Navy Band in Washington, D.C. She has also performed with the Chicago Symphony Orchestra, Milwaukee Symphony Orchestra, Rochester Philharmonic Orchestra, Annapolis Symphony, Evansville Philharmonic, New World Symphony Orchestra, and the Colorado and Breckenridge Music Festival Orchestras.In addition to her performing career, Haley is a passionate educator. Her teaching career began as a flute instructor for Holland Music Studios in Rochester, NY in 2008. She also served as a group flute and oboe instructor for the Eastman School of Music’s New Horizons Band. During the summer of 2009, she was a teaching assistant for the Seattle Youth Symphony’s summer music program, the Marrowstone Summer Music Festival. From 2015-2017, Haley was the teaching assistant for the flute studio of Bonita Boyd at the Eastman School of Music, where she taught flute lessons and led studio classes for students of both the Eastman School of Music and University of Rochester. During her doctoral residency at the Eastman School of Music, Haley was a flute instructor for the Eastman Community Music School. She has also served as a teaching artist for the Very Young Composers’ Seminar, an educational program founded by the New York Philharmonic Orchestra.Haley is a doctoral candidate at the Eastman School of Music where she earned her Bachelor of Music Degree in 2009. While performing in the U.S. Navy Band from 2009-2015, she was able to continue her graduate studies at the Catholic University of America and received her Master of Music Degree in 2015. During her free time, Haley can be found taking care of her two dogs, Annie and Daisy, and enjoying the outdoors as much as she can. She is also an avid skier and scuba diver.Support the show (https://thatsnotspit.com/support/)

On this episode we discuss our end-of-semester holiday parties. For our interview we welcome Katherine Young Steele, principal oboe of the Milwaukee Symphony Orchestra! This episode is brought to you by Jende Reed Knives (www.jendeindustries.com), MKL Reeds (MKLReeds.com), Double or Nothing Reeds (doubleornothingreeds.com), and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

Episode 117 - Eric Segnitz. Dan Sterenchuk and Tommy Estlund are honored to have as our guest, Eric Segnitz. We also extend our sympathy and thoughts to the family and friends of Ben Johnston. We recorded this episode in June prior to Ben Johnston's death. We appreciate Eric talking about Ben Johnston's work and we appreciate Eric generously allowing us to share some pieces composed by Johnston with our listeners. Eric Segnitz has had an extensive career in music reaching both local and international audiences through performance, composition, education, and a wide array of music recording and producing projects. Segnitz is a charter member of the Present Music Ensemble, the Kepler Quartet, has played with the Milwaukee Symphony Orchestra, the Milwaukee Ballet Orchestra, and written scores for film, theatre and television. Segnitz has been the recipient of several music awards and grants from national New Music organizations such as the Aaron Copland Fund, the Argosy Foundation, the Fromm Foundation, and New Music USA. Websites: Present Music: http://presentmusic.org Kepler Quartet: https://www.keplerquartet.com/index.html New World Records: http://www.newworldrecords.org Musical pieces in episode used with permission from Eric Segnitz. You can skip to them by clicking on the track and choosing the specific time listed below: (11:00) Crossing The Bridge · Eric Segnitz · Kim Robertson. (19:22) Sinatra Shag, Michael Daugherty, University of Iowa Center for New Music Ensemble, David Gommper. (28:02) String Quartet No. 10: Sprightly, not too fast – Ben Johnston, Kepler Quartet: Sharan Leventhal, Eric Segnitz, Brek Renzelman, Karl Lavine. (40:06) Quietness - Ben Johnston, Kepler Quartet: Sharan Leventhal, Eric Segnitz, Brek Renzelman, Karl Lavine. (46:16) String Quartet No. 7: Prelude - Scurrying, Forceful, Intense - Ben Johnston, Kepler Quartet: Sharan Leventhal, Eric Segnitz, Brek Renzelman, Karl Lavine. (1:06:37) Partita in E Major: III. — Kamran Ince, Eric Segnitz, Carl Storniolo. (1:17:01) Curve - Kamran Ince Present Music, Sharan Leventhal, Eric Segnitz, Brek Renzelman, Karl Lavine. (1:33:42) In White - Kamran Ince, Present Music, Kevin Stalheim, Eric Segnitz. (1:53:39) Ukulele Serenade - Aaron Copland, Eric Segnitz, Jayne Latva. (1:59:43) Todo Buenos Aires - Astor Piazzolla. arr. & orch. by John Adams) Miramar Sinfonietta, Henri Pensis, Eric Segnitz. (2:07:09) Study in Sonority, Wallingford Riegger, Eric Segnitz. Note: Guests create their own bio description for each episode. The Curiosity Hour Podcast is hosted and produced by Dan Sterenchuk and Tommy Estlund. Please visit our website for more information: thecuriosityhourpodcast.com The Curiosity Hour Podcast is listener supported! To donate, click here: thecuriosityhourpodcast.com/donate/ Please visit this page for information where you can listen to our podcast: thecuriosityhourpodcast.com/listen/ Disclaimers: The Curiosity Hour Podcast may contain content not suitable for all audiences. Listener discretion advised. The views and opinions expressed by the guests on this podcast are solely those of the guest(s). These views and opinions do not necessarily represent those of The Curiosity Hour Podcast. This podcast may contain explicit language.

Nate and Bobby give an update on the progress of the Grand Warner Theater, the future home of the Milwaukee Symphony Orchestra.Read Bobby's complete story here: https://onmilwaukee.com/music/articles/mso-update.html

Nate and Bobby give an update on the progress of the Grand Warner Theater, the future home of the Milwaukee Symphony Orchestra.Read Bobby's complete story here: https://onmilwaukee.com/music/articles/mso-update.html

As the Milwaukee Symphony Orchestra prepares to take over the former Grand Theater, Nate and Bobby discuss it's history and it's future.

As the Milwaukee Symphony Orchestra prepares to take over the former Grand Theater, Nate and Bobby discuss it's history and it's future.

Two-time Academy Award winning composer and Nicolet High School grad Justin Hurwitz is this week’s featured guest on WTMJ Conversations. Listen as he discusses his time in Wisconsin, the process of writing the music for “La La Land”, his other interests, his next project and more! The Milwaukee Symphony Orchestra will be performing the musical film "La La Land" in concert on June 23 and 24. Get tickets here pabsttheater.org‎.

The folk septet Mead Lake’s Most Wanted — a group of writers-turned-musicians — hails from West Bend, just north of Milwaukee, but is beginning to make Milwaukee it’s musical home after the release of its debut, Sinners Sang the Crows. They relay that the album was “recorded at Eisley Studios between October 2015 and February 2016 [and was] produced by Christian Seibert and features guest appearances from some of our favorite local musicians, including Christopher Porterfield (Field Report) and Peter Thomas (I’m Not A Pilot & the Milwaukee Symphony Orchestra). Such an honor, to even utter their names in the context of our album. Sinners Sang The Crowswill be available (almost) everywhere July 10, 2016. ”

Happy Anniversary to us as we celebrate our 25th Episode of Booth One! Sing along with the Flintstones as we toast a milestone in our podcast history. Sing Along Here As a token of this momentous occasion, Gary presents Roscoe with a "silver" quarter from the state commemorative collection, worth at most .25 cents.  Don't spend it all in one place, Roscoe. It's a Gallimaufry show today (gal·li·mau·fry ɡaləˈmôfrē/noun: plural noun: gallimaufries 1. a jumble or medley of things. 2. a dish made of diced from minced meat, especially a hash or ragout), as Gary and Roscoe explore a variety of topical subjects and current trends. First, a thank you to Episode 24 guest Melanie Neilan read bio for being so gracious and entertaining. This is proving to be one of our most listened-to episodes. We're certain that this young actress has an amazing career ahead. And a touch back to the famous Fairy Castle of silent screen star         Colleen Moore. Roscoe and Gary pledge to make a field trip to the Museum of Science and Industry soon to view it in person. Our Sourpus Smithers pet peeves of the week include the outrageously wasteful length of CVS pharmacy receipts read why, and one-armed self check-out customers who can't seem the grasp the concept that two hands are quicker than one! A last goodbye to the Asian elephants of the Ringling Bros. circus. Officials announced that they will retire all the creatures by the end of May 2016, a full two years before previously promised. read full story So if you want to see these wonders of nature up close in performance, better hurry to your nearest arena and catch them while you can. Don't forget! Gary tells a sad story - for a change - of a shark trapped in a chlorinated pool in Florida. Rescuers were likely too late to save the creature, who was placed in the pool by some hooligan youths. Full Story Rewards have been offered and we hope they catch these vandals before they destroy another wild animal. Gary officially retires his Keys to the Carly segment this week, as the famed failed CEO and queen of the helmet hair has been relegated to the under card at the last 3 GOP debates.  Farewell, dear Carlton S. It was fun while it lasted. We suspect this isn't the last we'll hear from Frau Fiorina. The Oscar race is heating up, with controversy and drama regarding the lack of diversity in the 20 acting nominations. NYT Story Who's to blame and what can the Academy of Motion Picture Arts and Sciences do to better address the question of gender and racial diversity in the Oscar voting? Hollywood Reporter view Gary and Roscoe Around The Town features a look at some recent and current stage events including - the pre-Broadway Chicago tryout of the new musical Gotta Dance Variety review; the Milwaukee Symphony Orchestra's one-night-only tribute to Jerry Herman read about the show ; and The Ruffians production of Burning Bluebeard Hypocrites website, a "holiday" show presented by The Hypocrites at the Den Theatre. Roscoe nearly falls off his bar stool at the news that Bette Midler is slated to star in Hello, Dolly! in the spring of 2017. Jerry Herman is quoted as saying, "Only Bette could bring Dolly brilliantly back to 'the lights of 14th Street!' " see more at Playbill.com Roscoe relates an acecdote about Ann-Margret once auditioning for the film version role of Irene Malloy. Hard to imagine... Steppenwolf Theatre announces the creation of a new bar and cafe next door to their main stage theatre. read full story  This should add some much needed social gathering space to the Halsted corridor rife with restaurants but lacking in drinking establishments. Looking ahead to the summer, the Grant Park Music Festival has announce it's lineup in Millennium Park. see the full 2016 season  Notable events include a tribute to Cole Porter featuring Karen Mason and a silent film screening with the orchestra playing the score. The film is TBA,

We are featuring Andrew Raciti on this week’s show.  Andy is the acting principal bass of the Milwaukee Symphony Orchestra. He is also the head of the double bass studio of the Bienen School of Music at Northwestern University. Before joining the Milwaukee Symphony in 2006, Mr Raciti was associate principal bass of the Sydney Symphony Orchestra in Australia. He has also performed with the Detroit Symphony, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, and the Melbourne Symphony Orchestra.   We talk about Andy’s experiences growing up in Milwaukee, studying at UW-Madison, studying with Paul at Rice, the Sydney Symphony, the Northwestern University bass studio, how Andy approaches lessons, the Laborie endpin, his Tester bass, and several other topics.  We also feature excerpts from Zivojin Glisic’s Concerto for Double Bass and String Orchestra with Andy and the University of Wisconsin-Madison Chamber Orchestra. Enjoy!   About Andrew:   Andrew Raciti is the acting principal bass of the Milwaukee Symphony Orchestra. He is also the head of the double bass studio of the Bienen School of Music at Northwestern University. Before joining the Milwaukee Symphony in 2006, Mr Raciti was associate principal bass of the Sydney Symphony Orchestra in Australia. He has also performed with the Detroit Symphony, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, and the Melbourne Symphony Orchestra.   In the summers he has been the principal bass of the Chautauqua Symphony Orchestra and performs orchestral and chamber music at the Grand Teton Music Festival. He is also a regular professor of the Filharmonica Joven de Colombia in South America. In 2011 he performed the United States premiere of the Concerto for Double Bass and String Orchestra by Macedonian composer Zivoin Glisic. A recognized authority in bass pedagogy and performance, Mr Raciti has published articles in the quarterly for the International Society of Bassists. He is currently involved with the  BATUTA foundation of Colombia, South America, where he is developing the bass portion of a comprehensive string pedagogy that will be used throughout its 17,000 member nationwide network.   Visit Andrew Raciti's Double Bass Studio Facebook Page

Maestro Classical Podcast: episode 5 feat. Ludwig van Beethoven, movements from Symphonies No. 1, 5, & 9. Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German composer and pianist. He was a crucial figure in the transitional period between the Classical and Romantic eras in Western classical music, and remains one of the most respected and influential composers of all time. Born in Bonn, he moved to Vienna in his early twenties and settled there, studying with Joseph Haydn and quickly gained a reputation as a virtuoso pianist. Beethoven's hearing gradually deteriorated beginning in his twenties, yet he continued to compose, and to conduct and perform, even after he was completely deaf. This is Symphony No. 1 in C Major, Opus 21. It was written in 1799 - 1800 and was premiered April 2, 1800 in Vienna, and is dedicated to Baron Gottfried van Swieten, an early patron of the composer. Here, the 3rd movement is performed by the USSR State Symphony, conducted by Konstantin Ivanov. Konstantin Ivanov "Symphony No. 1 in C Major, Op. 21" (mp3) from "Beethoven: Symphony No. 1, The Creatures of Prometheus Overture" (MUSIC ONLINE) Buy at iTunes Music Store Buy at Napster More On This Album Symphony No. 5 in C minor, Op. 67 was written in 1804– - 08. This symphony is one of the most popular and well-known compositions in all of European classical music, and is also one of the most often-played symphonies. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards.
The symphony, and the four-note opening motif in particular, are well known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television.
The Fifth stands with the Third Symphony and Ninth Symphony as the most revolutionary of Beethoven's compositions. Here, the first movement is performed by the Milwaukee Symphony Orchestra, conducted by Andreas Delfs. Milwaukee Symphony Orchestra & Andreas Delfs "Beethoven: Symphony No. 5" (mp3) from "Beethoven: Symphony No. 5" (MSO Classics) Buy at iTunes Music Store Stream from Rhapsody Buy at Amazon MP3 More On This Album Symphony No. 9 in D minor, Op. 125 "Choral" is the last complete symphony composed by Ludwig van Beethoven. Completed in 1824, it is considered both an icon and a forefather of Romantic music, and one of Beethoven's greatest masterpieces. It incorporates part of the poem "Ode to Joy" by Friedrich Schiller, written in 1785, with text sung by soloists and a chorus in the last movement. It is the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that set the tone for the Romantic symphonic form. Further testament to its prominence is that an original manuscript of this work sold in 2003 for $3.3 million USD at Sotheby's, London. Stephen Roe, the head of Sotheby's manuscripts department, described the symphony as "one of the highest achievements of man, ranking alongside Shakespeare's Hamlet and King Lear." Here, the final movement is performed by Ama Deus Ensemble, conducted by Valentin Radu. Ama Deus Ensemble, Valentin Radu "Symphony No. 9 in D Minor, Op. 125 - "Choral"" (mp3) from "Beethoven: Symphony No. 9 & Die Ruinen von Athen" (Lyrichord) Buy at iTunes Music Store Buy at Napster Stream from Rhapsody More On This Album