Podcasts about moonlight sonata

Today, April 2, 2025, marks the one-year anniversary of Vindication Day, when absolute, undeniable proof showing there's a non-human intelligence present on Earth was made public. Crime scene reconstruction expert Scott Roder, who operate Ohio-based firm Evidence Room, presented his analysis of various videos related to the Las Vegas alien incident of 2023 that shows there is some kind of NHI present on the planet. Just before midnight on April 30, 2023, a UFO made a hard landing in the backyard of Kenmore family of Las Vegas. Family members were immediately confronted with two eight-to-ten-foot-tall alien creatures. Roder and his team were finally able to offer definitive evidence a year ago that backs up the claims made by the witnesses who encountered the weird creatures.MOONLIGHT SONATA: https://commons.wikimedia.org/wiki/File:Ludwig_van_Beethoven_-_sonata_no._14_in_c_sharp_minor_%27moonlight%27,_op._27_no._2_-_i._adagio_sostenuto.oggSupport Extraterrestrial Reality/Quirk Zone on Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/c/Extraterrestrial_Reality⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out my YouTube channel:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Quirk Zone - YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Extraterrestrial Reality Book Recommendations:Link to ROSWELL: THE ULTIMATE COLD CASE: CLOSED: https://amzn.to/3O2loSILink to COMMUNION by Whitley Strieber: https://amzn.to/3xuPGqiLink to THE THREAT by David M. Jacobs: https://amzn.to/3Lk52njLink to TOP SECRET/MAJIC by Stanton Friedman: https://amzn.to/3xvidfvLink to NEED TO KNOW by Timothy Good:  https://amzn.to/3BNftfTLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 1:  https://amzn.to/3xxJvlvLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 2: https://amzn.to/3UhdQ1lLink to THE ALLAGASH ABDUCTIONS: https://amzn.to/3qNkLSgUFO CRASH RETRIEVALS by Leonard Stringfield: https://amzn.to/3RGEZKsFLYING SAUCERS FROM OUTER SPACE by Major Donald Keyhoe: https://amzn.to/3S7WkxvCAPTURED: THE BETTY AND BARNEY HILL UFO EXPERIENCE by Stanton Friedman and Kathleen Marden: https://amzn.to/3tKNVXn

Today, April 2, 2025, marks the one-year anniversary of Vindication Day, when absolute, undeniable proof showing there's a non-human intelligence present on Earth was made public. Crime scene reconstruction expert Scott Roder, who operate Ohio-based firm Evidence Room, presented his analysis of various videos related to the Las Vegas alien incident of 2023 that shows there is some kind of NHI present on the planet. Just before midnight on April 30, 2023, a UFO made a hard landing in the backyard of Kenmore family of Las Vegas. Family members were immediately confronted with two eight-to-ten-foot-tall alien creatures. Roder and his team were finally able to offer definitive evidence a year ago that backs up the claims made by the witnesses who encountered the weird creatures.MOONLIGHT SONATA: https://commons.wikimedia.org/wiki/File:Ludwig_van_Beethoven_-_sonata_no._14_in_c_sharp_minor_%27moonlight%27,_op._27_no._2_-_i._adagio_sostenuto.oggSupport Extraterrestrial Reality/Quirk Zone on Patreon:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/c/Extraterrestrial_Reality⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out my YouTube channel:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Quirk Zone - YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Extraterrestrial Reality Book Recommendations:Link to ROSWELL: THE ULTIMATE COLD CASE: CLOSED: https://amzn.to/3O2loSILink to COMMUNION by Whitley Strieber: https://amzn.to/3xuPGqiLink to THE THREAT by David M. Jacobs: https://amzn.to/3Lk52njLink to TOP SECRET/MAJIC by Stanton Friedman: https://amzn.to/3xvidfvLink to NEED TO KNOW by Timothy Good:  https://amzn.to/3BNftfTLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 1:  https://amzn.to/3xxJvlvLink to UFOS AND THE NATIONAL SECURITY STATE, VOLUME 2: https://amzn.to/3UhdQ1lLink to THE ALLAGASH ABDUCTIONS: https://amzn.to/3qNkLSgUFO CRASH RETRIEVALS by Leonard Stringfield: https://amzn.to/3RGEZKsFLYING SAUCERS FROM OUTER SPACE by Major Donald Keyhoe: https://amzn.to/3S7WkxvCAPTURED: THE BETTY AND BARNEY HILL UFO EXPERIENCE by Stanton Friedman and Kathleen Marden: https://amzn.to/3tKNVXn

My Productivity Hack: https://www.magicmind.com/FCLT20 Use my code FCLT20 for 20% off #magicmind   I'm a working man, Kill Donkeys! It's time for FOOD COURT, your favorite podcast, where we brave the malls and the movie halls so you don't have to! Sean and Mampy watched A Working Man, the brutal new action movie from Director David Ayer. Will the fellas laugh like they're shooting at a cop car with a machine gun? Or will they cry like they're watching a video of their daughter performing Moonlight Sonata? Tune in to find out! So grab your popcorn, sneak in your snacks, and pop your pepto because it's time to blast a guy into a huge bathtub! Bon Appétit!

Hi friends! Have you ever wondered what makes a sonata different from other pieces of music? In today's episode, we're diving into the world of sonatas—one of the most important forms in classical music! You'll learn: ✅ What the word "sonata" means and where it comes from ✅ How composers like Mozart, Beethoven, and Haydn used a special structure called sonata form ✅ How to listen for the exposition, development, and recapitulation in famous sonatas

The Gala is in full swing and the NETwork are mingling! Everyone who is anyone is in attendance! Frey vandalizes, Uther gets shot down, and Stynexx is interrupted and makes a new friend.Find us on the The Actual Playce Discord ServerHit us up with any questions or comments:Insta @crittalkerspodcastFacebook: crittalkerspodcastX: @Crittalkerspodor drop us an emailthecast@crittalkerspodcast.comBritt H. Plays Frey the RogueShane F. plays “Sir” Uther the BardChris A. plays Stynexx the ArrificerMusic/Sound Effects Include:Recap voice acting by Jennifer Millard, written by Jake PrewittFrey is played by Britt H.Uther is played by Shane FStynexx is played by Chris A."Camera Flash" by MalarBrush"The Details Intro" by Ryan S."The Details Long" by Ryan S."Rest of The Fallen" by GuilhermeBernardes via Pixabay"Comedy - Detective" by Onoychenkomusic via Pixabay"Chamber Strings" by SigmaMusicArt via Pixabay"Dizzy ellectric bolt spell 1" by FxProSound via PixabayVoice Acting for Mim's Jablanksi by Jennifer MillardAdditional Royalty free Music and SFX Credits that were found via Pixabay: sonorous-bong by freesound_communitywine glass clink by freesound_communityCrowd at Wedding Reception Ambience by ecfike (Freesound)Legacy of Beethoven. Moonlight Sonata. Hip-Hop Background music 30sec by White_RecordsSmoke House by WaveMasterLe Dom (Fashion Show) by whvleDespair Metal Trailer by LiteSaturationHard Robo Dance by SnailLabKids chatter Primary School Birmingham UK by freesound_communitySword Hit by freesound_communityJump-Scare_1 by freesound_community

Dreadful John xx-xx-xx Moonlight Sonata

References J Exp Clin Cancer Res. 2022; 41: 100. Front Endocrinol (Lausanne). 2022;13: 822221 Hunter-Garcia. 1968. "Dark Star" from [LiveDead;lp.] https://open.spotify.com/track/07CwWCJetytT1cSnQOgRMU?si=dc538f19db52489a Beethoven, LV. 1801. "Moonlight Sonata" #14 in C Sharp Major https://open.spotify.com/track/506fPIwbFyyvHp2PpFJj2e?si=0dcb00e6d9c14488 --- Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

Songs include: By the Light of the Silvery Moon by Billy Murray, Blue Moon by Mel Torme, How High the Moon by Helen Forest, No Moon at All by the Ames Brothers and Moonlight Sonata by Solomon.

As authored by Juan Hermandez

In today's episode, Gina discusses the benefits of music for those struggling with anxiety. Music can have a substantial impact on our mood, can reduce stress and increase relaxation. Listen in to learn more about the benefits of music for your general wellbeing and how to best use music to your advantage in overcoming anxiety! Please visit our Sponsor Page to find all the links and codes for our awesome sponsors! https://www.theanxietycoachespodcast.com/sponsors/ Thank you for supporting The Anxiety Coaches Podcast. FREE MUST-HAVE RESOURCE FOR Calming Your Anxious Mind 10-Minute Body-Scan Meditation for Anxiety Anxiety Coaches Podcast Group Coaching link ACPGroupCoaching.com To learn more, go to: Website https://www.theanxietycoachespodcast.com Join our Group Coaching Full or Mini Membership Program Learn more about our One-on-One Coaching What is anxiety? Find even more peace and calm with our Supercast premium access membership: For $5 a month, all episodes are ad-free! https://anxietycoaches.supercast.com/ Here's what's included for $5/month: ❤ New Ad-Free episodes every Sunday and Wednesday ❤ Access to the entire Ad-free back-catalog with over 600 episodes ❤ Premium meditations recorded with you in mind ❤ And more fun surprises along the way! All this in your favorite podcast app! Quote: Music can lift us out of depression or move us to tears - it is a remedy, a tonic, orange juice for the ear. -Oliver Sacks Chapters 0:23 Welcome to Music and Anxiety 3:22 Psychological Effects of Music 6:39 Music for Stress Reduction 10:10 Incorporating Music into Self-Care 15:19 Music and Coping Strategies 19:10 Creating a Personalized Approach Summary In this episode of the Anxiety Coaches Podcast, I delve into the profound impact that music can have on our emotional and psychological well-being. Titled "Harmony for the Soul: How Music Heals and Calms Anxiety," this discussion is inspired by my own experiences with music and its transformative effects. I invite listeners to explore how music can serve as a powerful tool in managing anxiety and stress, and I emphasize the importance of finding the right music that resonates personally. Starting with a quote from Bono, I highlight music's ability to change lives on a personal level, reflecting on how certain melodies can evoke feelings of calmness and security. I recount my childhood memories of my father playing Beethoven's Moonlight Sonata, a piece that particularly moved me and has been shown to have physiological benefits such as decreased heart rates and improved oxygen saturation. This personal connection leads to a broader exploration of how music can be seen as medicine, a source of healing that many may overlook. I dive deeper into the psychological effects of music by discussing its role in mood regulation and enhancement. Music is a versatile emotional tool that can uplift us from sadness or provide solace during anxiety-ridden moments. The concept of emotional contagion is introduced, explaining how our emotions can be influenced by the music we choose to engage with. I also introduce the ESO principle from music therapy which involves matching music to the listener's current emotional state, gradually adjusting it to influence change, underscoring the idea that music can lead us precisely where we need to go. The episode further explores the physiological benefits of music, such as its capacity to lower cortisol levels, reduce heart rate, and induce relaxation. I discuss how slow, calming music can alleviate muscle tension and act as a distraction from stress, promoting mindfulness and enhancing present-moment awareness. Several methods for incorporating music into relaxation routines are provided, such as creating calming playlists for bedtime or using nature sounds as an auditory backdrop for meditation. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Moonlight Sonata is indeed in three movements. Brian Hunt and Erin Latham-Ponneck are on Brew Ha Ha with Steve Jaxon and Herlinda Heras, for the Moonlight Brewing 32nd Anniversary. Brian has been on Brew Ha Ha many times, the most recent was this episode in October of 2023. On Saturday, August 24, from noon to 10 pm, Moonlight Brewing Co. will celebrate its 32nd anniversary, with music from The Sam Chase and the Untraditional, and others. There will be food trucks, attractions and activities for everyone including children, in addition to lots of delicious beer. In addition to all that, they will have a kids zone with a jumpy house and a magician. 32 Years of Moonlight Brewing Moonlight Brewing is now the oldest brewery in the county. Brian tells about getting “the beer guy”, Dr. Michael Lewis as an advisor when he changed majors to fermentation science at UC Davis. Then he went to work for Schlitz in Milwaukee. At that time, they were not invested in making great beer there. So Brian got away from that scene, with the lesson that people won't be attracted to crappy beer. He came back from Milwaukee in 1981 and worked for a series of breweries before starting his own brewery 32 years ago in 1992. Brian is Erin's stepdad. At first, he “poached” her away from her job to hire her for the bookkeeping. That led to more, as we will hear. Russian River Brewing Co. is open in Santa Rosa on 4th St. and at their big Windsor location. Visit their website for up-to-date hours, menus, beers and more. In the meantime, they taste the beer called Sulla Luna, a Czech-inspired amber lager that Brian originally made with Birrificio Italiano. He met them in Milano at a beer convention and when they visited here, they brewed this collaboration. Several months into the job she learned that there were actual offices above the brewery. So she moved into a proper room with a desk. Erin's official title is Chaos Management Specialist and Adult In Charge. See our sponsor Victory House at Poppy Bank Epicenter online, for their latest viewing and menu options. Brian has some interesting opinions about hops, especially that beer can be flavored with plants other than hops. Listen to him tell the history of hop use in beer in Europe.

DescriptionThe Tearful Power of Classical Music: Emotion in Every Note in 60 Seconds. Take a minute to get the scoop!Fun FactIf you're looking for three pieces that will move you to tears: Beethoven's "Moonlight Sonata" is a tear-jerking masterpiece with its haunting, lyrical piano. Barber's "Adagio for Strings" pulls heartstrings with its sweeping, sorrowful notes. Mahler's "Symphony No. 5, Adagietto" is an emotional rollercoaster, blending lush orchestration and tender themes that hit you right in the feels.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

"I fell in love with the sound of the monarch butterflies – their beating wings – the delicacy and the strength - the very particular frequencies they sound at, the way in which the remarkable field recording allows us to hear individual beating wings, and the potential to both highlight this and to also create a layering thrum. "I read about the monarchs' extraordinary migratory journey to ‘rest' in the central highlands of Mexico over winter. How like so very many migrants, many simply do not make their destination. Many fall in their great compelling movement across continents, or die at their final destination, exhausted. They sacrifice for the greater populations' need to survive. "'With every step, the number of dead or drowsy butterflies resting on the forest floor multiplies. Their wings, thin as parchment paper, are a deep orange with black veins and white spots along the edges.' https://www.nationalgeographic.com/travel/article/latin-america-butterfly-monarch-migration "I considered how I might create a soundscape for these wings to travel through. I played and resampled many percussion instruments to create nature sounds – rain, air, water, earth, stars, birds, and I recorded and sampled double bass and bass clarinet as instrumental flutters. I also recorded and resampled excerpts of Beethoven's Moonlight Sonata – creating an elegy and an enduring pulse – a sonic impulse, in honour of all creatures' flights from increasingly inhospitable lands and climates in search of safety and life." Monarch butterflies reimagined by Elissa Goodrich. Part of the Migration Sounds project, the world's first collection of the sounds of human migration.  For more information and to explore the project, see https://www.citiesandmemory.com/migration IMAGE: Channel City Camera Club from Santa Barbara, US, CC BY 2.0 , via Wikimedia Commons

DescriptionThe Enchanting Creation of Beethoven's Moonlight Sonata in 60 seconds. Take a minute to get the scoop!Fun FactBeethoven's "Moonlight Sonata," formally known as "Piano Sonata No. 14 in C-sharp minor 'Quasi una fantasia,' Op. 27, No. 2," was not performed publicly during Beethoven's lifetime. It was composed in 1801 and published in 1802, dedicated to his pupil Countess Giulietta Guicciardi. The piece gained popularity posthumously through various performances and publications.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Every house holds a secret, doesn't it? And in those houses, individual rooms have secrets of their own... and in those rooms, there are items with their own secrets, too. What happens when one of those secrets goes missing? And needs to be returned... Read by Rachel Blake.   Music: Theme music by Trevor Brown Incidental music: (All tracks played by Gregor Quendel) and free for use under the Pixabay Content License.) Moonlight Sonata 1st Movement by Ludvig van Beethoven. Impromptu No 1 by Franz Schubert. Piano Arpeggio 1 Variation 1 by Gregor Quendel. Cinematic Music Sketches: Cinematic Piano Sketch by Gregor Quendel. Fantasie Impromptu by Chopin, arr for music box by Gregor Quendel. Caprice N0 24 in A Minor by Niccolo Paganini. Prelude Op 32 No 12 in G Sharp Minor by Sergei Rachmaninoff. Moonlight Sonata 3rd Movement by Beethoven arr for strings by Gregor Quendel. Requiem Dies Irae by Wofgang Amadeus Mozart. Frühlingsrauschen Rustle of Spring by Christian Singding. The Tempest Piano Sonata No 17 in D Minor by Ludvig van Beethoven. Clair de Lune by Claude Debussy.

Today's podcast is all about tempo, and I have to start by saying that tempo is a funny thing. We define it with numbers or with the familiar Italian words, or less familiar French or German ones, and it still seems elusive. Much of the time we try to pin a piece of music down to a number, a mathematically precise ratio of beats per minute. Perhaps the composer put it there as a guide for the performer. Perhaps it was added by an editor, an arranger, or a teacher. But it still doesn't necessarily satisfy us. In fact, everything about this feels wrong. How is it possible to limit a piece of music, a creation that lives in a single moment, to one number?  I remember reading the liner notes to a CD recording by legendary pianist Arthur Rubinstein. This recording was made toward the end of his life. He was already in his 90's, but the producers of this recording wanted to preserve Rubinstein's interpretations of piano masterworks for generations to come who would not have heard him. The producer writes in the liner notes how he was moved to tears by Rubinstein's performance in the recording studio of the first movement of Beethoven's Moonlight Sonata. He felt he had witnessed a definitive performance.  The next morning, however, Rubinstein returned to the studio for that day's recording session and asked to re-record the Beethoven, saying it was too slow. The change in tempo was apparently barely discernible, if at all, to a listener, but it made a difference to Rubinstein.  What made the tempo difference important to Rubinstein? Clearly it wasn't the metronome mark. Beethoven didn't include one; the movement is only marked “Adagio sostenuto” and so a range of speeds would seem to be allowable. So from this we can conclude that tempo is more than a metronome marking. But what is it and how do we know what tempo is right or wrong?  Do we have to play a piece at the metronome marking, particularly if we can't play it at that speed or we don't think it sounds right at that speed? What do we do if there is no metronome marking? How do we know how fast or slow the piece should go? With so many recordings available to us, it is clear that harpists can play the same piece at very different speeds. Does that make some of the performances correct and the others not correct?  Okay, I just threw a bunch of difficult questions at you, but you don't have to come up with the answers; that's my job. I think it's important, though, that you have a clear idea of what the parameters are for finding your tempo for a piece, a tempo that you can play that sounds appropriate for the piece. In fact, that's the secret right there. But I have lots more ideas and practical advice for you on this topic so don't go anywhere. Links to things I think you might be interested in that were mentioned in the podcast episode:  Harp Mastery® Fall Retreat registration is open now! Related resource Tempo is Not a Number blog post Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-153  

Habit trackers are b******t. I know people who have been sober for months and months and then suddenly died from an overdose. So, streaks don't impress me.And, by the way, God isn't impressed by streaks either. He only cares about your actions one at a time.So, when your kids see you use a habit tracker, this is what they'll say:* “Mom taught me never to abandon a sinking ship.”* “Mom taught me that as long as you clock in, it's okay to check out.”When your kids watch you practice piano, they should be proud of every moment they see. Not just that you practiced. Not just that you practiced for 5 days straight. They should be proud of every movement they see you make, and they should be proud of themselves when they imitate you.They should say things like:* “I watched Mom practice piano and she was just hitting random keys like a crazy person. It sounded like s**t but it inspired me to listen to my body.”* “I saw Mom play a Chopin nocturne, full tempo, from beginning to end, even though it was too hard for her and she ignored most of the notes. It reminded me that good enough is better than perfect.”* “I heard Mom playing along with a recording of a professional. Of course she couldn't think about every single note, but she spent more time listening than playing, anyway. It taught me that I'm able to jump into a challenging environment and figure it out as I go.”* “I once saw Mom sight-read through a whole book of songs, all in one sitting. Most of it sounded awful, but she didn't care. It taught me that sometimes you just have to plow through, and to hell with everything else.”* “This one time, I saw Mom recording herself playing Moonlight Sonata, listening back, re-recording, re-listening, until it was perfect. It reminded me that I can and should hold myself accountable to meet my own standards.”* “Not only that, but I saw Mom comparing her own recording against a professional recording. Then, she re-recorded hers until the two sounded identical. It taught me that I can and should hold myself to objective standards.”So, let me ask you: have you done any of the things on this list? What lessons have your kids learned by watching you play piano?Be specific about cause and effect. We don't need more stories about the kind of person you wish you were.—Michael This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit nomichaelhere.substack.com

Welcome back to Busy Kids Love Music! I'm thrilled to continue our Solar Eclipse series with Episode 120, where we'll explore the enchanting world of songs inspired by the moon.

Father Vijay, confirmation, Stellar Kart, Eulogy, Moonlight Sonata, Bishop Barron, Rush Limbaugh, conclusion

Comedian Zach Woods (Silicon Valley, The Office, In The Know) joins Nicole to discuss shooting your shot with your crush, having vulnerably romantic encounters on airplanes, and the time he professed his love to a recording of Moonlight Sonata. Plus, Nicole receives a very special "dirty message" to the podcast. Stream In The Know, on Peacock. See Nicole's in episode 3!Follow Nicole Byer: Twitter: @nicolebyerInstagram: @nicolebyerMerch: podswag.com/datemeNicole's book: indiebound.org/book/9781524850746

Reference recording for the tab posted--view my tabs here.

Reference recording for the tab posted--view my tabs here.

Many of the most instantly recognisable works in classical music are inspired by the Earth's moon – Debussy's ‘Clair de Lune', Beethoven's ‘Moonlight Sonata', Dvořák's ‘Song to the Moon'. Tom Service takes us on a musical voyage to the moon (and back), from the cosmic-scale classical to the lesser known music invoking and inspired by our mysterious celestial companion. With Professor Monica Grady CBE, leading British space scientist.Producer: Lola Grieve

Welcome to the Instant Trivia podcast episode 1096, where we ask the best trivia on the Internet. Round 1. Category: Things To Do On A Rainy Day 1: Learn a new one of these from Duolingo. (foreign) languages. 2: Put together one of these; the 4,000-piece world map should take you a while. a jigsaw puzzle. 3: Assume the warrior pose, mountain pose or seated twist while practicing this. yoga. 4: Dress your dog in traditional colors and pretend it's this celebration. Mardi Gras. 5: If you have a piano, play his 1801 "Moonlight Sonata". Beethoven. Round 2. Category: Hunting And Fishing 1: Also a poker hand, in hunting this word means to cause game birds to break cover or take flight. flush. 2: The dall, stone, and desert bighorn are North American species of this game animal. sheep. 3: Make sure all flesh is removed from the hide before you begin this process of turning it to leather or things will get smelly. tanning. 4: About 1560, the modern type of these originated in Redditch, England, a needle-making region. steel fish hooks. 5: In Florida, the bag limit for the largemouth type of this is 5 a day, so don't get greedy. bass. Round 3. Category: Dumb Guys' Greatest Inventions 1: Dumb guys cherish this microwave button; they no longer have their ear to the door waiting for the kernels to quiet. the popcorn button. 2: Dumb guys now have a place to put their 32-oz. drinks; not only do these come in cars but they're on movie seats!. cup holders. 3: Dumb guys no longer rip lettuce apart to make it; Fresh Express has it in a bag! (Dumb guys still let it rot in the fridge). salad. 4: Dumb guys think it's cool they get to slide their own credit card at the store; even cooler? This word for "slide". swipe. 5: Dumb guys at desks feel smart clicking this and pushing the lead back in, especially considering its complicated name. a mechanical pencil. Round 4. Category: Hundreds 1: Scrape together 100 pence and trade it into the Bank of England for 1 of these. Pound. 2: Richard Dawson hosted this show that featured surveys of 100 people. Family Feud. 3: In 1955 this magazine first published its list of the 500 largest U.S. corporations by annual revenue. Fortune. 4: In 2000 a roll or "coil" of 100 first-class stamps set you back this much at the post office. $33. 5: In Rio in 2016, Kenya's David Rudisha won this Olympic running event equal to 2 laps around an outdoor track. the 800 meter. Round 5. Category: New Technology 1: Dogs take notice: a new A.I. with neuromorphic computing may recognize these emitted by narcotics and explosives. scents. 2: NASA's Parker Probe is the fastest man-made thing ever--it will hit the speed of 430,000 mph en route to this heavenly body. the Sun. 3: Using hydrogels, scientists achieved their goal of creating rudimentary versions of the charged organs in these marine animals. (electric) eels. 4: Airbus' solar-powered unmanned Zephyr aircraft can fly in this area of the atmosphere above the tropopause. the stratosphere. 5: Instead of contaminating a burger, this bacterium can now make indigo in a process invented by a biotech company. E. coli. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

►► Download the 20 Ways To Start Writing A Song Guide here: http://songwritertheory.com/freeguide/ In this episode of the Songwriter Theory Podcast, we're asking if this perspective on art is holding your songwriting back. I constantly hear people, including songwriters and musicians, say "Music is just all subjective", "Art is subjective", "There is no good or bad, art is purely subjective". Not only is that unequivocally wrong, I think it's an actively destructive view that doesn't leave any room for us to "get better" at lyric writing, music composition, or anything else songwriting because, by definition of music being entirely subjective, there literally is no such thing as "better" lyrics or music or songs. So why spend time trying to make our songs better? How could we even begin to have a discussion on how to write better lyrics or improve our chorus? If it's all completely subjective any of that would be a total waste of time. So, in this episode of the Songwriter Theory Podcast that absolutely no one asked for, we're going to talk about why this view is wrong and why it also is destructive to us and our future as songwriters. Transcript: So there's a certain perspective or opinion or just something that people say, especially artists of any kind, seemingly, and certainly songwriters. It seems like songwriters are constantly saying this and I think it's both destructive and just completely wrong. So because of that, we're gonna talk about it in this episode of the Songwriter Theory Podcast. Hello, friend, welcome to another episode of the Songwriter Theory Podcast. I'm your host, as always, Joe Svedala. Honored that you would take some time out of your busy day to talk songwriting with me. Extra honored that you would take some time to listen to this podcast where we are, this is a podcast for being honest. Nobody asked for me to talk about this. The vast majority of subjects we talk about is something that either is inspired by what I think some of you would want me to talk about if you did tell me, and then a lot of it is off of what you do tell me. So a lot of the content recently, the last several months, has been inspired very directly by your feedback when I asked what your number one songwriting struggle was. Most of the content has been pretty directly off of that, some more directly maybe than others. And I still need to finish that series as well, which we'll get back to. I have not forgotten. But this is one of those episodes where we are talking about something that nobody asked for, but I still think is important to talk about. And I've wanted to talk about it for a while, and then just realized it's a good podcast episode. I think it's an important thing to discuss, because you may not end up agreeing with me, but hopefully I can at least get you to consider that instead of what seems to happen, which a lot of people just kinda, I wanna say mindlessly kind of repeat this thing, I think it's a cop-out answer, and I think it's not true, or at least there's an argument, I would argue a very compelling argument, that it's clearly not true. But regardless, hopefully you at least reconsider the repercussions of this view of this perspective, and also maybe consider that maybe it's just not true. If you haven't already, be sure to grab my free guide, 20 Different Ways to Start Writing a Song. It's a cheat sheet, it's shorter, it's better than it used to be, and has double the ways to start writing a song. It's a great way to go, especially for somebody who is struggling with your song sounding the same, or you feel like you're uninspired. One of my favorite things to do, because my bread and butter way of starting a song is starting with a piano riff or something at the keyboard. But whenever I feel like, I just don't have any piano riffs in my fingers right now, I feel like I've written them all, which obviously I haven't, right? But just, you know, if you write a piano riff two a day for five days, by the sixth day, you're kind of like, I just, I don't even know, like I've done every key of it, I just don't know where to start. But just doing something as simple as, I'm gonna go grab a stock funk beat and improvise to that, or I'm gonna do a bass line, or I'm gonna start with an interesting symbol or song title instead, or I'm gonna think of an interesting character or an interesting story to tell. Those can be all great ways to start a song that will refresh us creatively, so that we don't get into writer's block. So anyway, be sure to check that out, songrithury.com slash free guide. So what is this perspective that I'm wanting to talk about that I think is super prevalent and ultimately pretty destructive and just not true, just wrong? It is that art is completely subjective, or art is totally subjective, or art is just subjective, all the different versions of that quote that seemingly everybody says. And not everybody says it, not everybody has that opinion. I think a lot of people don't have that opinion, but the people who do are very loud about it. And I think, first of all, it's just not true, which we're gonna cover first, why I think it's just not true. And then also, regardless of the level of truth, I think it's an unhelpful perspective if you want to get better as a songwriter. If you wanna write better songs, I think it's an unhelpful, if not overtly destructive perspective. So first, let's talk about some of the reasons why I think it's just not true. And we're gonna start with quite a claim probably, but and that claim is, I think the vast majority of people who say this don't actually believe it. They think they believe it, but if we tease it out a little bit, if we discuss it a little bit, dive a little bit deeper, about the repercussions, if it really is true that music, art in general, movies, books, it's all subjective, just totally subjective. There's a lot of consequences of that view that almost no people that do start with the premise of like, all art's all subjective, music's all subjective. Most of those people, when we go down some of the paths we're gonna go down, it's like, okay, if that's true, then this other thing has to be true. But those people, even if they wouldn't admit that they are like, yeah, I guess I don't agree with that. Inwardly, I think they just, they would know. Oh, I don't think this view is correct. So first let's start with how logic works, I guess, which I know you didn't expect this in a songwriting podcast, but this is, if you want to get to the truth, you have to think logically. And I know a lot of people listening to this might be like, really, I didn't expect a logic thing today, but here we are. So whenever a logical claim is made, one way to test it is to take it to the extreme and see if it still holds true. So for instance, if I were to make the moral claim that all stealing is bad, you take it to the extreme, find the most understandable or seemingly justifiable version of stealing and try to figure out is that morally right? If it is, then that undermines my point that all stealing is wrong, right? Or all lying is wrong, for instance. So if we were to say all lying is morally wrong, but then we take it to the extreme, right? If we were to say all lying is wrong, then we would be able to lie to a certain evil German party from the 1940s to save certain people from a horrible fate. If we lied to them, is that a moral good? I would argue yes, because they're saving their lives and life doesn't always give you perfect choices. So you're not lying for evil and you've edited that deeply because I don't know, YouTube algorithm is weird and YouTube doesn't like talk about certain things and they will brand it. You can't even say certain words without them. You're like, oh my goodness, they're bad guys. Like, no, no, I'm presenting them as the bad guys. But anyway, hopefully you got my drift about 1940s certain German. But anyway, if you can find one example of something, then the whole claim is just not true. So if we take the claim that art is completely subjective or songwriting specifically is completely subjective to the extreme, we would take the most extremely bad version of art and extremely good version of art, put them together and say, is it true that it's just subjective that this really bad thing is better than, or is worse than the really good thing? So let's do that. If we believe, if we believe that all art is purely subjective, again, this is, don't, this is getting ahead maybe, but there's no false, no, don't false dichotomy here. The claim that all art is subjective, is totally subjective is a extreme claim. What I'm not claiming is that it's purely objective. I'm not claiming that. I think that's actually more arguable than this, but I'm not arguing that. I think there's objective ways to look at art and there's of course, there's subjective ways to look at art as well. Of course, there's subjective ways to look at everything. But the idea that it's purely subjective is what I'm saying is not true. It's not 100% subjective. But if it's true, that's 100% subjective, then it is 100% valid, 100% valid for me to say that the first scribble my daughter did is equally as good art as Starry Night, Mona Lisa, Sistine Chapel, Statue of David. And not only do you have no grounds to refute or argue with me, because you said it's all subjective. So if I subjectively believe that my daughter's first scribble is better than Sistine Chapel, what, is your subjective opinion more important than mine? That would be blatant narcissism, right? That your subjective opinion matters than somebody else's subjective opinion. That's like the epitome of narcissism, is we all have equal opinions except mine is more equal. Like mine is more important. That's a horrible place to start. So if it's true that it's all subjective, you have to concede, you must. There's no other way than it is equally valid for me to say that my daughter's first scribble is better than Sistine Chapel than for you to say the Sistine Chapel is better than my daughter's first scribble or first time she tries a stick figure. Like just to put an illustration on it, I can do right now a deep piece of art that is very meaningful to me, that I've thought about for a long time. Sorry to those of you who are just on podcasts who isn't gonna see this exquisite, brilliant piece of art. Here we go. Better than the Mona Lisa, baby. And the best part is, if it's true that art is purely subjective, not only can you not actually refute or argue with what I just said, you can't even inwardly roll your eyes because you say it's all subjective, purely opinion. So if that's my opinion, you can't refute it. And it would be pretty arrogant for you to even roll your eyes at it. Because what, is your subjective opinion somehow better than mine? There's no objectivity here according to this view. So really you can't even get off on judging me for having that opinion. But here's the thing, we all know this absurd. We all know, deep down, like even right now, you're probably thinking about, no, that can't be true. But yes, it is. If it's purely subjective, there's no objectivity. Then there's no discussion to be had about something being better or worse. Because that doesn't exist in your view. It's just what people like, what each person subjectively likes. That's the only thing we can talk about. So we can't even begin to have a discussion about what movie is better than another movie. Let's apply it to other art forms before we take it back to songwriting. So let's take movies. We all know, hopefully, that The Dark Knight is better than Morbius or Thor II. We all know that Infinity War is better than Thor II. Most MCU movies in the Infinity Saga are better than Thor II. But we know that that's true. We know that Empire Strikes Back is a better movie than Rise of Skywalker. Everybody knows that. I mean, the only thing that every Star Wars fan in human history agrees on is Rise of Skywalker is a pile of garbage. It's awful, awful. Even people who were defending episode eight still agree Rise of Skywalker is terrible. And we all know that The Godfather is better than Troll 2 or The Room, famously awful movies. To the point that if somebody actually tried to say Thor II is better than The Dark Knight, all of us would be like, "Are you kidding me?" Now, maybe if they said they like it better, there's no accounting for taste because now that's not an objective claim anymore. That's a subjective claim. But anytime we say this quarterback is better than another quarterback, that's an objective claim. And there's no way to, there's no science to just outright prove it. You have to gather what you think goes into what is a great quarterback? Is it accuracy? How much does playoff performance matter? Is it playoff stats or is it playoff wins? A quarterback wins even a stat and maybe not a football or sports person, so I've already lost you. But there's many things where we can have objective discussions that just aren't completely clear, which we'll get into in a little bit, a little deeper. But this goes to something else where let's go to music. You may or may not like Cardi B more than classical music. In fact, probably a lot of Americans, if they're being honest, they don't actually like classical music. Some actually are willing to say, I think it's boring, right? Some people will actually say that out loud, which I almost admire. So probably, if I were to guess, it might even be true that if you were, if every US citizen had to be honest, they would say they prefer Cardi B over classical music. I don't know, as I said that, that's probably not true. But regardless, there's a lot of people that if they're being honest, they prefer Cardi B, and absolute garbage like WAP, over Moonlight Sonata or anything by Bach Beethoven, whoever is in your goat discussion of composers. And honestly, if somebody said, I just like Cardi B more than, I would be like, okay, that's a little bit of a sign of a degenerate culture that we live in a world where a lot of people probably genuinely prefer outright garbage like that over brilliant classical pieces. But there's no accounting for taste. That's a, they're not making an objective claim that Cardi B is better than Beethoven or Cardi B is better than Bach. So that's fine, right? They just like it more. But I think we all, a little part of us, would immediately, if we were in a room and somebody had the audacity to say, oh, Cardi B is far more brilliant, far better of an artist than Bach or Beethoven. We all know that we jump in and be like, are you kidding? Because that's an objective claim. That's an objective claim. And we all know it's objectively false. We all know, in our heart of hearts, we know that. Now we might not have figured out how to articulate why that's true, which we'll get into in a little bit, but that doesn't change that it's true. For instance, we'll save that point, because my second point is gonna be how objectivity is often misunderstood. But again, somebody can say, I like WAP more than moonlight Sonata. Purely subjective claim, whatever, it's fine. If they say it's better, now we have a problem. And most of us recognize that. Why? Because most of us understand that there are objective and subjective claims, and they both can be valid. For instance, I can say that I like the Star Wars prequel trilogy more than I like the Lord of the Rings trilogy. That's just taste, right? I would never say that it's better than the Lord of the Rings trilogy. The Lord of the Rings trilogy is one of the greatest movie trilogies ever. And the Star Wars prequels have significant issues, especially the first two. And it's just, if you were to break down how you measure movies, I'm pretty sure basically every category, Lord of the Rings would win. But I love Star Wars, George Lucas, Star Wars. And orcs and ogres, not ogres, but orcs and dwarves and elves and all that sort of high fantasy stuff just does not do it for me, just from a personal standpoint. I still like Lord of the Rings because it's so good that it actually gets me past my bias. It's kind of like a country song that I like. It's really impressive. It means the song must be really, really good because I'm so biased against country by nature. So we all know there's a separation there. You can come up to me and say, "I like Thor II better than The Dark Knight." And I don't think you're a little crazy, but for the most part, you're just saying what you like. I don't know why you like it better, that's fine. But we all know that we'd all be a little ticked if somebody said, "Oh, the Barbie movie's better than Gladiator." Of course it's not. We all know it's not. Even the people who made Barbie, if they're being honest, know that it's not better than, I don't know, on "Music Gladiator." I'll use a more clear example. It's a wonderful life, which is in absolutely the goat discussion of movies. Somehow I didn't see it until this year. That movie had hype for 31 years that have been alive and still actually matched or exceeded the hype. That movie deserves, most movies in that category are overrated, that one is not. Anyway. So, if any of what I just said is true, where you know deep down, like, yeah, I mean, obviously it's absurd to say that Troll 2, or The Room, is better than It's a Wonderful Life, or that Cardi B is a better writer than Bach or Beethoven, or My Daughter's Scribbles, or The Scribble I Just Did, is better than Starry Night or Mona Lisa or something. If that's true, then you don't believe it's all subjective. You don't, because if it's all subjective, everything, all those absurd things I said, shouldn't bother you at all. Because it's just pure subjective. So what is it? There's no discussion to be had. I have my opinion, you have yours. There's nothing to discuss. Which leads me into the second thing, which I think is what bothers a lot of people. People throw the baby out with the bathwater, they make this fallacy all the time with things. And they confuse objectivity as like, it's a thing that's so obviously true, nobody could disagree with it. Which is funny to me that in today's world, people could say that, because there's lots of things that are firmly established as objective that large swathes of the population are just like, "No, not true." Like, "Okay, all right." And so it's shocking to me when people think that. It's obviously not the case. Just to take one silly example, like the earth isn't flat and it revolves around the sun. Right? You know what I mean? Like people deny it still. And also objectivity doesn't mean that it's easy to measure or determine. Just as an exercise here, let's take science. One of the more objective things we have, right? Math is the most objective probably in sciences. It depends on the type of science, right? The gravity science is far more objective than many other types of sciences or pseudosciences. But just as a example, for most of human history, we had no idea that we were made up of cells, much less that cells are made up of molecules, which are made up of atoms, which were made up of the combination of protons, neutrons, and electrons. That doesn't change the objective reality that always was the case. 2,000 years ago when we didn't know that, it wasn't not true. But right now, scientists say that 90% of the universe is dark matter, they don't know what it is. Whatever it is or whatever group of things it is, the objective truth that we currently don't know is still the objective truth. It doesn't change just because we don't know how to measure it or we haven't figured out what it is. It's just like if you lived under a rock your whole life, it's objectively true that the sun is in the sky and the rock isn't the whole world, even though in your perspective, this life under the rock is all there is. That doesn't change the objective reality though. So what you won't hear me saying is that it's easy to have a discussion, try to in good faith, have a discussion about objectivity and art. It's not an easy discussion. But in almost anything except math, that's always true. A lot of times we oversimplify things to try to make it seem simple, but it's not. Right? And I think a lot of people run into this whenever, you know, the deep down, they know something like, yeah, it's yes, it's a wonderful life, is objectively a better movie than the room. We all know that down deep. But when somebody actually is crazy enough to try to argue with us, that's when sometimes we might be like, oh wow, I don't actually know how I know that, but I know it's true. But that's true even for scientific things. You and I, for probably every single person who's listening to this podcast watching this video, you have never yourself seen any proof or even evidence really that the earth is round, but we all believe it. Theoretically, we all believe it. A lot of people don't, but we'll say we here believe that the earth is round. And that's okay if you don't. I have people I love who don't, and that's okay. Crazy to me, but it's what it is. So in that case, why do you believe that? You believe that because science textbooks all told you that. You know far more people that believe that than don't. And you saw some pictures from space, allegedly, that seemed to show the earth as being round. Right? We all, for many things that we take for granted as being objective, we actually have outsourced to other people. The fact that we're made up of, I mentioned, protons, neutrons, and electrons, none of us, none of us have definitively seen for ourselves, oh yeah, there's protons, neutrons, and electrons. Maybe we've seen a picture in a textbook that's labeled that way, but we don't know that. They could have been making it up. And I'm not suggesting those things at all. In case it's not obvious, I'm not suggesting either of those things are true. But there's a lot of things in life that we don't think about how we really don't know how to defend the objective thing. And we can't say that we've actually seen it with our own eyes, or have proven it with our own science, or math equation, or whatever it is. Much less all the things in the world that are way more nebulous, like who's the goat for basketball, or football, or whatever else. All of those arguments are way more nebulous than sports media would make you believe. The same thing is true with like, how would you even begin to decide the goat of actors, or the goat of composers? It's a difficult thing. That doesn't mean it doesn't exist, though. So I think this is a part of the people get frustrated and I kind of throw it out. It is a difficult discussion to try to get to how can I separate out this concept of, here's what I like in a song, versus here are some of the objective through lines and themes that seem to generally create a better song. Now it's easier if you break it down into pieces. For instance, I did this when I believe I did a podcast breaking down why, it wasn't the main point of the podcast, I think the main point of the podcast was why you should learn piano as a songwriter, and then I did one on why you should learn guitar, I believe. But I believe I've done this, maybe I haven't. But a quick breakdown is, I believe that you can make an objective claim that the piano is the greatest instrument. Now, that means that we have to break it down into different things that are objective, or are more objective. So for example, we have to talk about, okay, how do you measure the greatness of an instrument? I think one factor is its range, right? Because it's an ability to play different pitch ranges that adds to the mix, adds to the song, and piano has the largest range, right? So it has violin beat, it has guitar beat, it has instruments like flutes beat by a ton. It's way more than most instruments, and it's more than any other instrument, at least of, you know, main semi-normal instruments. Organ is probably close, but yeah. Then another factor would be something like, how much you can do with one person at an instrument. With a flute, we'll take the flute as comparison, with a flute, it can play one note at a time. That's it. With a piano, you can play chords, full chords at the same time while also doing the melody. You can sing with just a piano, and it feel pretty full. You can't sing just with a flute, and it feel full. People don't do that, right? Your accompanist is never a flautist. Your accompanist is a pianist, or maybe a guitarist, which by the way is another part of the argument, I would say. Then I think there's an element of instrumentation that's how useful is it across different genres. Something like a banjo is really only super useful as a main instrument, as a driving force, in very specific genres. It's a very specialized instrument. Piano, you can throw it in an old ancient classical piece, or way before classical. Heck, you could do Gregorian chants with piano, and it works totally fine. It seems to fit because of such an old instrument. But it also can fit in the most modern rock or pop. It's not like a steel guitar, which automatically makes something sound kinda country. So I think you can break down these different categories and say the piano is either number one, or number two for darn near every category. And the only thing that seems to be in competition is these days, maybe guitar has kind of entered the goat discussion. But probably 150 years ago, that wouldn't be true. But these are the sort of things we have to do, right? Is break it down into pieces of like, okay, melody, how melody and the chords and the lyrics all fit together, which we're not gonna dive into this next, because actually in the next episode, we're gonna finally take the audacious step. Very often, whenever I mention, like, look, I think it's crazy to say that it's purely, it's just all subjective art. The immediate pushback I get is the like, gotcha question, which is lazy and silly, I think. But it's like, okay, define what makes a good song. Like that doesn't, first of all, I'm not saying that there's no subjectivity. And I'm also not saying like, oh, it's trivial to just be like, oh, let's make a math equation. And then we can just grade every song and it comes out with a perfect number. And we can definitively say this song is better than another. No, it's always gonna have some level of variability. There is some subjectivity to it. But if we take it to the extreme, that's where we see, okay, there's also some objectivity to it, which is why we all know that if somebody says, wap is better than Moonlight Sonata, if you have any soul at all, there's a little part of you that's angry at the idea that somebody could suggest such an absurd thing. But we can, again, if there's no objectivity, you can't think that's absurd. You can't, there's no, it's all subjective. So there's nothing to talk about. So anyway, we are gonna take that audacious step in the next episode, which I believe might be the 250th episode for this podcast. And I'm not gonna do it because I think I have all the answers, I don't. But I think everybody's too, it seems to me that everybody's too lazy to even try. And I think that's a problem. I think that's a problem because of the third point we're gonna get into. Which is, to me, if you wanna grow as a songwriter, if we wanna be able to have legitimate discussions about how can I make a song better, how can I improve a song, we can't say that it's all subjective. Because if it's all subjective, there's no discussions we had. If I write a song in the next hour, I take an hour and write a song, and I feel like the second verse lyrics just isn't quite working. And the bridge melody feels like it doesn't really fit with the theme and with the main ideas. It just doesn't fit with the lyrics of the bridge. And there are numerous other problems. Maybe just the lyrics of the chorus just don't quite work, they don't feel tight. They are using a lot of meh words like sad, which is a pretty bland word compared to something like wistful, which is more specific, or bitter. For instance, you could say, it's maybe over simplified, but wistful is something like sadness and longing for a past happiness that you had. It's very specific, so it has sadness, but it has happiness too, because you're wistful for something that was happy, but you're sad about it now because you don't have it anymore. So it's way more specific than sad, which is a broad category. Because if I say I'm bitter, bitter is kind of like a hybrid between angry and sad, which are two more generic concepts. But bitter is a very specific type of sadness or a very specific type of anger. It's really sort of a hybrid. So if I say I'm bitter, that's telling you that I'm both sad and angry. If I tell you I'm just sad, that's just sad, right? So there are words that are clearly better and more precise than others that communicate more, even though it's still one word. So the word sad versus the word wistful, communicates way more with one word than sad does. And that's not even like a, that would be a thing that's like objective. Like if I tell you I'm sad, or I tell you I'm wistful or bitter, I have absolutely been more precise in communicating what specifically I'm feeling with those other two words. And there are many other examples that would be way more extreme. I probably should have picked a more extreme example, but regardless. So if I sit down and I write a song, and it has all these issues, if I truly believe that it's all subjective, I believe there is no reason, no good reason for me to take any time to listen to that inner voice that's telling me that my second lyric, my second verse lyrics aren't working, and my bridge melody doesn't work with the lyrics, because it's all subjective. What does that even mean? Because I can't even begin to say that my lyrics aren't good, because that's an objective claim. I can say I don't like the lyrics in that section, but who cares? That's my subjective opinion. I shouldn't even care about my subjective opinion for my own songs, because I might be, my subjective opinion might be totally wrong, and the whole world thinks it's great. And since there's no objectivity at all in this view, why would I spend more time to just subjectively change the lyrics? Meanwhile, if I sit down and I write a song draft in an hour, same exact scenario, but I believe that there is some objectivity to it, and that I can, by taking the lyrics in the second verse that I think have issues, they're not using very precise words, it doesn't really evoke much of an emotion, because it's kind of generic language, maybe there's even some cliches in there, which is the worst of all, but if I go into that with, no, there is some objectivity here, then there's reason for me to think I can make that better. It's worth trying to make it better, because making that verse better exists. If we say it's all subjective, that doesn't even exist. There's no such thing as making your second verse lyrics better, that's an objective claim, just like it's objective to say the Dark Knight is better than Thor 2. Saying I like it better is not, that's a subjective claim, that's just an opinion, I don't even have to back it up with any facts. If I claim the Dark Knight is better, is better, that's an objective claim, I need to be able to explain to you why it's a better movie than Thor 2, which I would do, except that you don't care, because it's a songwriting podcast, but that is something I could do, and have done before. But not that anybody, I've never heard anybody make such a ridiculous claim, I've heard similar ridiculous claims, but not that one. So with the mindset that there's some objectivity to this, I'm incentivized as a songwriter to think my song isn't just perfect as it is, I can't just write it off as oh, it's all subjective, so I think the lyric might suck, but no, there's no such thing as a sucky lyric, I'm just gonna throw it out there. Then there's reason for me to actually try to make it better, and there's a way that I could figure out how to make it better, because we can't even begin to have a discussion about how to write a better pre-course, or how to write a better chord progression, or how to improve your second verse lyrics for your song called Infinity, or I made up a song title on the spot and immediately regret it, but we can't even begin to have that discussion. You can't email me and say, Joseph, give me some feedback on this song, because all I could tell you, if there's no objectivity, is I like this and I don't like this, but why should you care what I think? If it's just all subjective, you shouldn't. I don't even think you should really care what you think if it's all subjective. What does anything matter? We might as well just do that, say that's my song. Subjectively, it's just as good as anything else. I like that more than Moonlight Sonata. So it is what it is. And I think down deep, a lot of times, another underlying reason that people believe all art is subjective, there's many things we could get into that's even deeper that we're not gonna get into because of the song on any podcast. I think it's downstream of certain world views and things like that. But I think a part of it too, is we have to take responsibility and acknowledge that we might write songs that aren't very good, or we might have to acknowledge that our songwriting used to suck or the first five songs we write are gonna suck and the next five songs are gonna be okay. And then even when we start writing more and more good songs, we're still gonna have some duds that just aren't very good, didn't quite work. If we say it's all subjective, we can give ourselves a pass. We can just say, oh, who's to say? Everybody universally hates this song and everybody says it sucks and they can even give objective reasons why it sucks. How the melody is something that is completely unmemorable and also it's not an interesting melody but boring, and which it merely has some subjectivity to it. But there is also a level of, we all have heard melodies that like, oh, there's something about that that's good and there's something about that. Another one is melody I think is one of the hardest things to have any sort of objective discussion on. But we can look at a lyric and be like, look, that had a cookie cutter line here, it's not emotionally resonant at all. It's using a lot of generic words that isn't gonna move anybody. So we can even talk about specific things in each other's songs that just aren't working and could be improved. But if it's all subjective, there's nothing to talk about. And that's the part that really gets me, is it doesn't make any sense at all. If it's true that it's all subjective, for anybody to be listening to my podcast or anybody else's podcast about songwriting, it doesn't make sense to try to get better at songwriting because that doesn't exist if it's all subjective. The idea of writing a better song or taking your song and making it quote unquote better does not exist because better is an objective claim. All you can do is hope to make a song that you personally like better or that for some reason you care that I personally like better, which you shouldn't care about. You shouldn't even care what you subjectively like better necessarily. I mean, obviously that should be a part of it. We should write music we like generally. And then the part that really gets me is the idea that there's people out there creating content, teaching songwriting, who would say it's all subjective. If it's all subjective, does that mean that your content is just you saying, in my subjective opinion, this, in my subjective opinion, that, and you should listen to my subjective opinion because my subjective opinion is better than your subjective opinion? Like is that? I don't know how we get away from that. And it's one of those things where like, for some reason this is one of those things where like anytime I try to have this discussion, for some reason I feel like people try to brand the opinion that no, there's two spectrums. There's I don't like it to I do like it, which is subjective claims. And then there's a separate, totally separate discussion that's being able to discuss it's bad to its good spectrum. And those are not necessarily linked at all, which is why I can like one movie way more than another, but also concede that the movie I like less is actually a better movie. If we are incapable of that, that's a massive flag, massive flag, because we should be able to have that discussion. And that's an acknowledgement that there's a separation between our personal taste and just what makes something good. For example, famously, if you listen to this podcast, my favorite band is vertical horizon, but you will never hear me say is vertical horizon is the greatest band of all time. I would never say that. I don't think they're the best band of all time. I wouldn't even begin to be audacious enough to make that claim about any band. They're my favorite though. They speak personally to me. I would say maybe that Mascale is a good songwriter. I think it can back up that claim with, because that's an objective language, right? But I would never say they're the best band, or my favorite band is better than your favorite band necessarily. I mean, maybe I would, depends what your favorite band is. But that's a totally separate discussion. I should be able to concede that your favorite band might be better than my favorite band, but I still like my favorite band better. Just like I might like Revenge of the Sith even more than I like Lord of the Rings movie, but I can concede the Lord of the Rings movie is better. The acting is probably better. The plot is better. Maybe the VFX are better, right? The effects are better. The script is better. The plot is better. Did I say that already? The dialogue is better. Of course, the dialogue's better. Dialogue has never been Star Wars' strong suit, right? So we can break it down into categories, and then break it down further and further, and try to have an objective discussion in good faith where we try to parse out, you know, why does the Lord of the Rings have better dialogue than Star Wars? We all know that's true, but, you know, it is a difficult conversation to figure out why that's true. So this is the ultimate thing for me, is it just feels like, regardless of any of the other points which were about that, I just think it just doesn't stand up to basic reason that all art is totally subjective. Frankly, I think it's a ridiculous thing to say. I don't think it stands up to even thinking about it for like five minutes. But, even with that opinion, I also think it's just destructive. You're just not incentivized to ever try to get better because there is no better to attain. That doesn't help us. If you wanna become a better songwriter, if you wanna listen to content to get better at songwriting, you have to accept the premise that better exists is such a thing as making your lyric better. You can edit your second verse lyrics that suck, and you know they suck, and you cringe at them. You can edit them, you can redraft them, rewrite them, and then you look at the B, right? Your sixth draft that also had edits, and look and say, "This is objectively better than what I started with. "This is obviously better." And if that doesn't exist, why would you waste any time to do that? You wouldn't. You wouldn't. And to me, it's like, well, everything becomes pointless really fast. Trying to learn to write better doesn't exist. You shouldn't listen to any content creator about it. There's no point. There's no point. And this is a thing too that for some reason, it's only art that we apply this to. If we said that, "Oh, well, how to build a good car is totally subjective." No, it's not. If the car doesn't move properly, or if the car is such that even in a 30 mile per hour car crash, anybody who's remotely near the crash is going to die 100% of the time, obviously it's not a good car, right? Again, it's like good car, bad car, good house, bad house. There are elements to it that are subjective. And there are elements to it that are objective, which we know if we take it to the extreme. If you compare whatever you think the best car is, just the engine is the best, the speed is the best, the acceleration that breaks, the safety, the gas mileage, all the different factors that we could say are, here's what makes a car better or worse. It's better across the board than car B. Then we know it's objectively better than car B because it's both safer, faster, more fun, more cool looking, better gas mileage. It's better at all the things. So we know there's some level of objectivity to this. There's objective discussions we had. We know this to be true for everything else. I would even argue for music, which is why I gave the example, we all know we're gonna cringe if somebody actually comes up to us and has the audacity to say, "WAP is just as good as Moonlight Sonata," or whatever. Maybe you didn't think Moonlight Sonata is overrated. You know, I'm not even sure where I land on that. I haven't really thought about it. But, you know, pick some masterful classical piece, or hack just a not horrible gross song like WAP, which is just awful in every possible sense. I really think it has no redeeming qualities. But, regardless, it just ends up being destructive to us if we can't have that discussion. So next episode, we're gonna do the audacious thing. We're gonna try to figure out what are some of the things we can look at that seem to make objectively better songs? What are some of the commonalities? What are the factors we look for? For example, I'll give you one example. I think it starts with synergy, if you will, of all three of the main parts. If the melody feels like it is communicating the same thing as the lyrics, which feels like it's communicating the same thing as the harmony and the chords, to me, that's a start. If your lyrics seem to be talking about one thing, but the melody doesn't fit at all with the lyrics tonally, the lyrics are really sad and just, or maybe wistful or something, but then the music is like grandiose and epic in a way that just doesn't fit. This doesn't make sense. These are supposed to be working together. So I think that's where it's gonna start. I haven't fully written it out yet, the episode, but we're gonna do the audacious thing because I know this episode alone, a lot of people are gonna be like, "Whoa, this is really good." I know. It is what it is. I'm not gonna back down from this. You're welcome to make your counter argument. I've heard a lot of counter arguments. I have yet to hear a compelling one. It usually comes down to, "Oh, you can't give me a math equation to figure out how good a song is." So you're wrong. No, that would prove, that wouldn't even prove wrong that if I were to claim that art is totally objective, me not being able to provide basically a math equation to figure out how good a song is still doesn't disprove that claim. And that's not the claim we're making. I'm making the claim that we should be able to have a discussion from a subjective standpoint and from an objective standpoint. Sometimes the line is blurred between the two, but the idea that we can have no objective discussion about art, whether movies or music is absurd, asinine, ridiculous, doesn't stand up to even the beginning of thinking about it. Which is why we're gonna discuss it next time. Because I think it's worth having that discussion. Because if you and I wanna write a better song, next time we write a song, we have to have some standard to look at at what does that mean? When we say I wanna write a better song or I wanna take the song ahead and make it better, what are some of the factors I can look at to make it better? Otherwise, I don't even know what we're talking about. We're wasting our time, really. So hopefully this was helpful to you. Hopefully it got you to maybe reconsider some things if you're somebody that has said before or really hasn't thought about it much, but just you hear from so many people this, you kind of accept it as true, but you never really thought about it yourself. There's probably a lot of people, which is fine. We don't have time to think deeply about literally everything that everybody says in passing. So hopefully for you there was something in this that at least made you think, huh, okay. Yeah, there's something to this idea that if it's all subjective, this is a waste of time. So maybe in my heart of hearts, I know deep down that there's some level of objectivity here, just because it's difficult to measure doesn't take that away. And next time we'll do the hard thing that nobody else is willing to do. I've never seen it anywhere. Maybe it's been done, maybe it hasn't, but we're gonna do the audacious thing. We're gonna try to figure out how to objectively measure a song or some factors to look at for objectivity in a song. I don't pretend I have all the answers for sure, but we'll try. We'll do a good faith tribe and you can let me know in the comments what things maybe poke holes in it. Let me know maybe factors that I'm gonna miss. I'm sure I'm gonna miss factors. It's a hard thing to tackle, right? But we can do it together. Also, if you have ideas, feel free to email them to me as well. Really, my goal is I wanna start this discussion. I think it's a worthwhile discussion. I don't pretend to have the answer, but I do think it's worth all of us together trying to seek it, trying to figure out what makes it. Again, if you haven't already, be sure to check out my free guide, 20 different ways to start writing a song, songwritertheory.com, slash free guide. Thanks for sticking with me. Thanks for listening to an episode that again, nobody asked for, but I do think is an important thing to talk about. Don't worry, soon we'll be back to the normal grind of the main stuff people wanna know. But I thought this episode was important to talk about. Hopefully you found it helpful. And I will talk to you hopefully in the next one.

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium In the heart of a serene village nestled among rolling hills and thick forests, there resided a woman named Sapphire. She was celebrated far and wide for her exceptional talent: the ability to craft a Moonlight Sonata, a melody capable of lulling even the most restless souls into a deep and tranquil slumber. Sapphire's voice possessed a magical quality that resonated with the very essence of the moon itself. The village, known as Silverbrook, derived its name from the way the moonlight gracefully embraced everything it touched, casting a silvery glow upon the world each night. The villagers held the moon in high reverence, and they cherished nightly gatherings where they exchanged stories and sang beneath the moon's serene radiance. On a clear, starry night, with the moon hanging low in the sky like a radiant lantern, Sapphire made a decision to venture deep into the heart of the nearby Enchanted Grove. Legends whispered of the mystical creatures that called the forest home, and its secrets were said to be unveiled only to those with the bravest hearts. Driven by an insatiable curiosity, Sapphire felt an irresistible pull to explore its depths...

The latest episode of More Than Hentai has arrived and it sees the salt and pepper senpai, Brendan White joined on stage by the extremely talented Isha Bassi to not only play Moonlight Sonata by Ludwig van Beethoven, but also share their thoughts on Naoshi Arakawa and A-1 Pictures 2014 romantic drama hit, Your Lie in April.As a friendly FYI, this episode will be a full deep dive on episode one, titled "Monotone/Colourful", so be ready for spoilers.Also please note that Isha's audio track experienced some minor feedback at times - we've cleaned it up as best as possible but some minor interference can be hear throughout the episode.Please be sure to rate, review and subscribe to us as well as all the other podcasts you consume, it takes no time, costs you no money and means the world to us podcasters.Track us down on Discord, Instagram and TwitterCheck out Brendan's anime watch list and ratings hereUpdate your wardrobe via our merch storeThrow us a few dollars over at Buy Me A CoffeeUpgrade your audio game via our friends at Audio-TechnicaMuch love! Stay humble and stay hungry

When most people think of the pipe organ, they imagine its massive, majestic sound filling a large church during a wedding, funeral, or other Christian ceremonies. But as I learned in my recent conversation with the Austrian concert organist Lukas Hasler, we can trace the instrument's roots to ancient Egypt, thousands of years before the birth of Christ. And despite their prevalence in the church, organs have also played an important role in secular life. In the 19th century, for example, people in small villages or those who couldn't afford concert tickets could only hear new music when it was transcribed and performed by a local organist.  And for Hasler, bringing the organ back to the mainstream and helping people from all walks of life discover its beauty and expressive range has become a central component of his career. "Everyone thinks the organ is just in churches, which of course is a truth," Hasler says on the latest episode of the Classical Post podcast. "On the other side, every time you walk into concert halls or listen to film music, the organ plays a major part. I really want to create an awareness of this instrument — and sometimes it really helps to transcribe very famous scores for the organ." Hasler's ability to showcase the organ's remarkable versatility has made him a star on the rise. In addition to building a community of more than 80,000 fans on social media, he's performed in the opening ceremony of the Salzburg Festival, was the first touring classical musician to perform in Ukraine after the start of the Russian invasion, and his transcriptions of everything from Beethoven's Moonlight Sonata to the Super Mario Brothers theme have thrilled audiences across Europe and the U.S. In this episode, Hasler and I talk more about the organ's evolution over time and his latest digital release — an astounding reading of Franz Liszt's virtuosic Fantasy and Fugue on Bach. Plus, he shares what made him recently pack up his life in Austria and head to sunny southern California, how architecture and fashion inspire his creativity, and the importance of hearing protection when the instrument you play is very, very loud.Listen to Hasler's recording of Liszt's Fantasy and Fugue on Bach on Spotify, YouTube, or wherever you stream music. — ⁠⁠⁠Classical Post⁠⁠⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠⁠⁠Gold Sound Media⁠⁠⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

In this  2019 podcast, filmmaker Irene Taylor Brodsky discusses her project "Moonlight Sonata: Deafness in Three Movements," and her commitment to making films accessible to differently-abled audiences.  We talk about her first feature documentary, "Hear and Now," which won the Audience Award at Sundance in 2007 and explored her deaf parents' experiences when they were 65 with cochlear implants and its relationship to her film “Moonlight Sonata," which was partly inspired by her deaf son, Jonas, who was driven to learn to play Beethoven's “Moonlight Sonata”. We discuss the emotional and historical significance of Beethoven's work, particularly how his deafness influenced his compositions. Irene also recounts the unexpected twists during filming, including her father's development of dementia. And she discusses the Reel Abilities Film Festival where her film premiered, her commitment to making her film, as well as others, accessible to the deaf, blind, and differently-abled communities, and her not-for-profit The Treehouse Project and its Accessibility Lab which works to elevate deaf and blind audiences' access to and participation in theatrical independent film.

In this  2019 podcast, filmmaker Irene Taylor Brodsky discusses her project "Moonlight Sonata: Deafness in Three Movements," and her commitment to making films accessible to differently-abled audiences.  We talk about her first feature documentary, "Hear and Now," which won the Audience Award at Sundance in 2007 and explored her deaf parents' experiences when they were 65 with cochlear implants and its relationship to her film “Moonlight Sonata," which was partly inspired by her deaf son, Jonas, who was driven to learn to play Beethoven's “Moonlight Sonata”. We discuss the emotional and historical significance of Beethoven's work, particularly how his deafness influenced his compositions. Irene also recounts the unexpected twists during filming, including her father's development of dementia. And she discusses the Reel Abilities Film Festival where her film premiered, her commitment to making her film, as well as others, accessible to the deaf, blind, and differently-abled communities, and her not-for-profit The Treehouse Project and its Accessibility Lab which works to elevate deaf and blind audiences' access to and participation in theatrical independent film.

John M. Kennedy talks about Samuel Taylor Coleridge, his education at home, at the school, and the importance of his friends William Wordsworth, and Tomas Poole. The support and the deeds of Tomas Poole, who is known to this date, especially, in his town in Nether Stowey, Somerset - England. Samuel Taylor together with Wordsworth, is the founder of the British Romantic Movement. One of his most celebrated poems is: "The Rime of the Ancient Mariner", which is transcribed in here so you can enjoyed while listening its fabulous interpretation in the voice of the great British actor Sir Ian McKellen. Finally, and besides the Beethoven's "Moonlight Sonata", enjoyed the heavy metal rock song: "The Rime of the Ancient Mariner". Till the next Episode. --- Send in a voice message: https://podcasters.spotify.com/pod/show/john-kennedy98/message

Welcome to "On Top of the World Radio" on November 28, 2023. I'm your host, Chris Story, broadcasting live from Homer, Alaska. Today's show is all about embracing the power of positivity and gratitude. We kick off with a powerful reminder to "Promise Yourself."### Promise Yourself:- Be so strong that nothing can disturb your peace of mind.- Spread health, happiness, and prosperity to everyone you meet.- Find something special in each of your friends.- Embrace the sunny side of everything and let your optimism shine.- Think, work, and expect only the best.- Celebrate the success of others with the same enthusiasm as your own.- Forget past mistakes and focus on greater future achievements.- Wear a cheerful countenance and share smiles with every living creature.- Dedicate time to self-improvement rather than criticizing others.- Be too large for worry, too noble for anger, too strong for fear, and too happy to allow trouble.### The Science of Getting Rich:- Today, we're diving into the Science of Getting Rich through Gratitude, inspired by Wallace D. Wattles' work in 1910.- Tune in as we explore the greatness of gratitude on page 63.### Quotes to Inspire:- "Optimism is the faith that leads to achievement. Nothing can be done without hope and confidence." - Helen Keller- "I am fundamentally an optimist. Part of being optimistic is keeping one's head pointed toward the sun, one's feet moving forward." - Nelson Mandela- "An optimist sees opportunity in every difficulty." - Winston Churchill- TBC Radio presents "THE WORD" at 803.9424 or tbcradio.com.- Today, we're not just sharing one word but a volley of words. Here are ten synonyms for "optimist":  - Positive thinker  - Hopeful person  - Bright-sider  - Upbeat individual  - Positive-minded person  - Sunbeam  - Pollyanna  - Rosy outlook  - Cheery soul  - Silver lining seeker### Times Like These:- Despite challenges, remember, there have always been times like these1. **1520:** Ferdinand Magellan reaches the Pacific Ocean.2. **1895:** First American automobile race.3. **1925:** Grand Ole Opry premieres in Nashville.4. **1942:** Cocoanut Grove nightclub fire in Boston.5. **1960:** Mauritania becomes independent from France.6. **1971:** Mars 2 orbiter reaches the surface of Mars.7. **1987:** South African Airways Flight 295 crashes into the Indian Ocean.8. **2008:** Moonlight Sonata played by 53,000 people in Mexico City, setting a new Guinness World Record.Join us as we navigate through history and embrace the positive energy of today. Stay tuned for more inspiration on "On Top of the World Radio."

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium In the heart of a serene village nestled among rolling hills and thick forests, there resided a woman named Sapphire. She was celebrated far and wide for her exceptional talent: the ability to craft a Moonlight Sonata, a melody capable of lulling even the most restless souls into a deep and tranquil slumber. Sapphire's voice possessed a magical quality that resonated with the very essence of the moon itself. The village, known as Silverbrook, derived its name from the way the moonlight gracefully embraced everything it touched, casting a silvery glow upon the world each night. The villagers held the moon in high reverence, and they cherished nightly gatherings where they exchanged stories and sang beneath the moon's serene radiance. On a clear, starry night, with the moon hanging low in the sky like a radiant lantern, Sapphire made a decision to venture deep into the heart of the nearby Enchanted Grove. Legends whispered of the mystical creatures that called the forest home, and its secrets were said to be unveiled only to those with the bravest hearts. Driven by an insatiable curiosity, Sapphire felt an irresistible pull to explore its depths. As she ventured deeper into the Enchanted Grove, the world around her underwent a breathtaking transformation. The trees seemed to come to life with a gentle, silvery luminescence, casting enchanting patterns upon the forest floor.

In this captivating episode of the "Anthology of Horror" podcast, we had the privilege of revisiting the works of the celebrated author, Woundlicker, aka Mark Lynch. Hailing from the enchanting landscapes of Northern Ireland, Mark Lynch is a literary genius, weaving tales that span alternate history, science fiction, and the darkest realms of horror. One of his literary gems, "Harsh Words," is available for exploration on Amazon, offering an immersive journey into imaginative storytelling.Throughout this captivating episode, the interlude was graced by the haunting melodies of "Moonlight Sonata" and "Prelude in C Sharp Minor," both masterfully played by Spring Heeled Jack, creating an enchanting ambiance that enveloped our storytelling.As the episode drew to a close, we bid you farewell with a powerful rendition of "Message in a Bottle" covered by Machine Head, originally written by The Police. This closing song captured the essence of the episode, leaving a lasting impression.Support the showYe olde march shop https://www.aohpmerch.com/s/shopDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

In this captivating episode of the "Anthology of Horror" podcast, we delve deep into the rich tapestry of Native American folklore from the United States. These timeless stories are carefully selected to transport you to a world of enchantment and mystery.As your host and narrator, Spring Heeled Jack, takes you on this journey, the interlude is graced by haunting melodies, featuring "Moonlight Sonata" and "Prelude in C Sharp Minor," both masterfully played by Spring Heeled Jack himself. These timeless compositions add an extra layer of enchantment, immersing you in the ambiance of the tales.And as the episode draws to a close, we bid you farewell with "Come Join the Murder" by The White Buffalo. This evocative song encapsulates the emotions and intensity of the stories you've just experienced, leaving a lasting impression.So, as we conclude this episode, remember that the darkness has many secrets left to reveal, and we'll be here to unveil them together. Thank you for joining us on this enchanting journey, and stay tuned for more chilling tales yet to come.Support the showYe olde march shop https://www.aohpmerch.com/s/shopDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

In this captivating episode of the "Anthology of Horror" podcast, we invite you to gather 'round our virtual campfire as we delve into a collection of campfire ghost stories from around the world. These tales are carefully chosen to transport you to the heart of eerie traditions and storytelling from diverse cultures.As your host and narrator, Spring Heeled Jack, guides you through these haunting narratives, we've added an extra layer of ambiance to enhance your listening experience. Throughout the episode, you'll be serenaded by the calming sounds of a forest at night and the crackling of a campfire, immersing you in the captivating world of our stories.The interlude is graced with the haunting melodies of "Moonlight Sonata" and "Prelude in C Sharp Minor," both played by Spring Heeled Jack himself. These timeless compositions add a layer of enchantment to the episode, setting the stage for the chilling tales to come.And as we bid you farewell, we do so with the evocative song "No Children" by the Mountain Goats, a perfect ending that encapsulates the emotions and intensity of the stories you've just experienced.So, gather 'round the virtual campfire, let the forest sounds and campfire crackles serenade you, and prepare to be spellbound by these ghostly tales. The darkness holds many secrets, and we're here to unveil them all. Welcome to the "Anthology of Horror."Support the showYe olde march shop https://www.aohpmerch.com/s/shopDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

In this captivating episode of the "Anthology of Horror" podcast, we invite you to gather around the virtual campfire as we delve into a collection of spine-tingling campfire stories from across the globe.Your host and narrator, Spring Heeled Jack, takes you on a journey into the heart of darkness, where tales of the macabre and supernatural await. These stories, handpicked from various cultures and regions, are sure to send shivers down your spine, recreating that nostalgic feeling of sharing tales by the campfire.To enhance your listening experience, our interlude is set to the haunting notes of "Moonlight Sonata" and "Prelude in C Sharp Minor," both performed by Spring Heeled Jack himself. These classical compositions add an eerie and atmospheric touch to the episode, immersing you in the world of horror.As you draw closer to the episode's conclusion, we bid you farewell with the evocative sounds of "Up the Wolves" by the Mountain Goats, leaving you with a lasting impression of the stories you've just heard.Throughout the episode, you'll be serenaded by the ambient background noise of the woods at night and a crackling campfire. This combination of relaxing yet spooky sounds creates the perfect backdrop for our tales, enhancing the overall ambiance and immersing you in the haunting experience.So, dim the lights, turn up the volume, and let the "Anthology of Horror" take you on a journey to the heart of the unknown. As the tales unravel and the campfire crackles, remember that the night holds secrets and stories that will continue to haunt your dreams.Support the showYe olde march shop https://www.aohpmerch.com/s/shopDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

In the chilling conclusion to "The Nightshift" by the master of the macabre, Jay Darkmore, we've reached the final, heart-pounding act of this captivating tale. The echoes of Beethoven's "Moonlight Sonata" and Rachmaninoff's "Prelude in C Sharp Minor," skillfully performed by Spring Heeled Jack, linger in the air, a fitting backdrop to the ominous events that have unfolded.As we bid farewell to this spectral narrative, the haunting melodies give way to "Twilight Time" by The Platters, casting an eerie spell on our senses. The night has concealed its deepest secrets, and the time has come to leave them in its shadow.But fear not, for our journey through the supernatural continues. The Halloween special persists, delivering daily doses of terror and mystery. So, as we part ways for now, remember to return, keep those lanterns burning, and stay on the lookout for the unknown.Support the showYe olde march shop https://www.aohpmerch.com/s/shopDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

In this spine-tingling episode of the "Anthology of Horror" podcast, we delve deeper into the abyss with part two of the dark and captivating tale, "The Nightshift," penned by the master of macabre, Jay Darkmore.As we venture further into the eerie world Jay has crafted, the mysteries deepen, and the horrors intensify. The story has us in its clutches, leaving us breathless and craving more. If you haven't experienced part one, go back and listen, for this is a tale that you won't want to miss.Our interlude music, skillfully performed by none other than Spring Heeled Jack himself, features Rachmaninoff's haunting "Prelude in C Sharp Minor" and Beethoven's melancholic "Moonlight Sonata." These melodies heighten the atmosphere of fear and anticipation that this episode delivers.As we conclude this installment, we leave you with the soul-stirring sounds of Bon Jovi's "The Hardest Part Is the Night." The music lingers, much like the story itself, leaving you with a sense of unease and a desire for what comes next.Remember, the Halloween special is in full swing, and each day brings a new episode, a new nightmare, and new tales to keep you awake at night.Join us tomorrow as we reach the thrilling conclusion of "The Nightshift" and explore even more eerie stories lurking in the shadows.Stay with us on this harrowing journey into the unknown, right here on the "Anthology of Horror."Support the showYe olde march shop https://www.aohpmerch.com/s/shopDemented Darkness https://open.spotify.com/show/2ausD083OiTmVycCKpapQ8Dark Side of the Nerd https://open.spotify.com/show/6cwN3N3iifSVbddNRsXRTuFoxhound43 https://rumble.com/user/Foxhound43

Proving time and time again that there is proof for life after life,  Dr Raymond Moody and Paul Perry join Theresa on White Shores to discuss their research, their vision and their latest co-authored title: Proof of Life After LifeDr Raymond Moody is an American philosopher, psychiatrist, physician and multi million bestselling author, most widely known for his books about the afterlife and near death experiences (NDEs) a term that he coined in 1975 in his best-selling book Life After Life.  Paul Perry is a film maker and the co-author of several New York Times bestsellers, including Evidence of the Afterlife and Saved by the Light which was made into a popular movie.To find out more about Raymond and Paul, message them and order Proof of Life After Life visit: https://www.lifeafterlife.com/http://www.paulperryproductions.com48 mins, 10 secs: Beethoven's, Moonlight Sonata, first movement played by RCM scholar Robert CheungTo find out more about Theresa's bestselling dreams, intuition, afterlife, and mystical titles and mission, visit:Www.theresacheung.comhttp://linktr.ee/theresacheungTo order Theresa's latest title: Empower Your Inner Psychic visit:amzn.to/3GqtmleYou can contact Theresa via @thetheresacheung on Instagram and her author pages on Facebook and X and you can email her directly at: angeltalk710@aol.comThank you to Cluain Ri for the blissful episode music.White Shores is produced by Matthew Cooper

On Episode 52 of the Daebak K-Rambles Podcast, Jess and guest Sarah from Kdrama This and the Afternoona Asks Podcast review Do You Like Brahms?, starring Park Eun-Bin and Kim Min-Jae. Jess and Sarah discuss this underrated 2020 musical drama, talking through the slow-burn romance between two introverts, comparisons to other musical K-dramas, the Asian stereotype that the show seems to tackle, the impossible-to-love SFL, the inside baseball of the classical music scene, clichéd and overplayed songs (looking at you “Moonlight Sonata” and “Clair de lune”), and more! GUEST: Sarah Afternoona Asks Podcast: Available on Spotify, Google, Apple Instagram: @kdramathis www.kdramathis.com Rate and subscribe on Apple Podcasts and Spotify, follow us on all the socials, and be sure to let us know what you want to see in Season 5! Follow us! Patreon Instagram Twitter Facebook --- Support this podcast: https://podcasters.spotify.com/pod/show/daebakpod/support

Earlier this year, pianist Alice Sara Ott became the face of the Apple Music Classical app when she starred in its launch video, performing Beethoven's Piano Concerto No. 1, Op. 15 with the Netherlands Radio Philharmonic Orchestra and its Chief Conductor Karina Canellakis. The recording of it now becomes the headline work in Ott's latest Deutsche Grammophon album, Beethoven. The pianist has paired it with a series of solo works, including “Für Elise” and the “Moonlight” Sonata.Track Listing:1 Piano Concerto No_ 1 in C Major, Op 15 - I Allegro con brio2 II Largo3 III Rondo_ Allegro scherzando4 Piano Sonata No 14 in C-Sharp Minor, Op 27 No 2 Moonlight - I Adagio sostenuto.5 No 2 Moonlight - II Allegretto – Trio6 III Presto agitato7 Fu¨r Elise, WoO 598 11 Bagatelles, Op_ 119 No 1 - Allegretto9 Bagatelle in C Major, WoO 54 Lustig und Traurig10 Allegretto in B Minor, WoO 61Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

This version of the story "Carmen Lombardi" has a music and sound effect track added. Bedtime Stories for Adults: set in Italy. Carmen was born invisible. She was child number 5 of 9 children of the famous Lombardi family in Italy. The Lombardi family was genetically superior. Lucky children born into this bloodline, soon showed traits and talents of Michelangelo, Leonardo da Vinci, Galileo, Marco Polo, or Dante. Since the 1500's, every generation brought at least one genius.Music clips from Pixabay Free Music. Thank you to all contributing artists:"Frost Waltz " by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 licence. https://creativecommons.org/licenses/by/4.0/"Lone Harvest" by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 licence. https://creativecommons.org/licenses/by/4.0/"Let the mystery unfold" and "Hiding place in the forest" : Music by Geoffrey Harvey from Pixabay"Sad piano atmosphere no pad"  by Musictown from Pixabay "Waltz for Piano and Violin" by  Music For Videos from Pixabay"Peaceful Classical Piano And Violin"  and  "Sad Melodic Classical Waltz" by Ashot-Danielyan-Composer from Pixabay"For When It Rains"  Music by Juan Sanchez from Pixabay "Moonlight Sonata" Music by 23843807 from Pixabay Support the show

Clara makes a compact, Mort dreams of the sea floor, and Bert bites back. The theme of tonight's episode is Fishes.(To avoid spoilers, content warnings are listed at the end of this episode description).The bonus story that goes with this episode is ‘Big Catch', and is available for Hallowoods patrons on the show's Patreon, along with behind-the-scenes, exclusive merchandise, and more! Because the show runs without ads or sponsors, we rely on support from fans to guarantee the survival of this LGBTQ+ horror podcast.Hello From The Hallowoods is written and produced by William A. Wellman, a queer horror author. You can visit their website for more information! The transcript for this episode is available on the Hello From The Hallowoods Website. Click here to read!You can also find Hello From The Hallowoods on social media! The show is on Facebook, Instagram, and Twitter at @thehallowoods. If you'd like to connect with other fans of the show, there's even a fan-run Discord Server!Music for this episode was used under license from Artlist.com. The soundtracks featured were: ‘Forest Overture', by Yehezkel Raz, ‘Metamorphosis', by The Bows, ‘Moonlight Sonata', by Brooklyn Classical, ‘Bleeding Fields', by Muted, ‘Cold Sugar', by Sun Wash, ‘Gravity', by Piotr Hummel,‘Soft Awakening', by John Gegelman, ‘Enigma,' by Charlie Ryan, ‘A Town Called Dismal', by Josh McCausland, ‘Leaving Earth', by Stanley Gurvich, ‘Ganymede', by Yehezkel Raz, ‘Ten Lost Years', by Yehezkel Raz, ‘Hourglass - Instrumental Version', by Yehezkel Raz, ‘Pentecost - Reworked', by Christopher Galovan,‘Exhale', by Salt of the Sound, And ‘Farewell', by Maya Belsitzman and Matan Ephrat Content warnings for this episode include: Animal death (Beast as usual, Bert not as usual), Suicidal Thoughts, Violence, Death + Injury, Blood, Birds, Static (including sfx), Emotional Manipulation, Body horror

He's Misstra Know-It-All by Stevie Wonder and Moonlight Sonata by Beethoven

Good News: A gecko which faced extinction has come back from the brink thanks to conservation efforts, Link HERE. The Good Word: Listen to Henry Wadsworth Longfellow’s “The Three Kings”. Good To Know: A bit of history behind “O Tannenbaum”! Good News: Some Australian marsupials are having a population comeback with some help from several […]