Podcasts about mozart

Daniel Chiva Sanz returns to the podcast to discuss his latest project, Daily Mozart, a new technique book that applies concepts from his School of Patience books to the second movements and minuets of Mozart symphonies. Daniel shares how his work as a performer, teacher, and creator has led him toward a brass-inspired approach to sound, pitch center, and hand-shape precision, and he reflects on how fundamental technique has shaped his audition preparation, orchestral playing, and overall confidence on the bass. We dig into why Mozart's slower movements make such effective daily studies, how Daniel uses color-coded markings to focus on hand shapes, same-note/different-string work, and short shifts, and why playing in tune with yourself may be one of the most important skills for auditions and excerpts. Daniel also talks about "training before the playbook," the athletic side of audition preparation, making technique engaging through variety and repetition, and his broader goal of giving bassists accessible tools to raise the overall standard of intonation and confidence in the bass community. Enjoy, and learn more from Daniel on his YouTube channel and Instagram, and check out a featured video from Daniel's School of Patience here. Thank you to our sponsor, Wiedoeft Double Bass Rosin We want grip and longevity from rosin. Most fail at one of them. We get a lot of rosin sent our way to evaluate on the job. Wiedoeft is the one we keep using, from symphony stages to theatre pits. All Season — Balanced grip across normal swings in temperature and humidity. Ultra-Grip — A softer blend built for cold halls and dry climates. Use code DBHQ for free shipping, direct from Wiedoeft. Connect with DBHQ Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ. Theme music by Eric Hochberg

Matthew Toffolo interviewed the creative team behind "The City's Green Room," a 3-minute environmental film that played at the Environmental Film Festival that features world-renowned opera singer Rolando Villazón. Stacy, the writer & director, explained how they created a series called "Stories of Trees" to educate audiences about the importance of urban plant life through compelling storytelling combined with music. Felipe, the executive producer, described how they've produced 12 films so far, with the latest being a project in Salzburg, Austria, comparing Mozart to tree care. The team discussed their approach of making short, social media-friendly films that showcase real tree care activities while conveying broader environmental messages, with WILDsound sharing how the film inspired him to teach children about respecting trees during a baseball coaching session. —- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod —— Love for you to try the Indy Film Festival AP. • Daily new film festival of the best new films from around the world. New archived festival to watch anytime. • Library of over 500+ award-winning films to watch anytime. Go to https://www.wildsound.ca and sign up for the free 3-day trial. Check out the daily film festival (and previous ones from last month) at https://www.wildsound.ca/browse Always an amazing lineup of films. Inspiring for storytellers.

Send us Fan MailRose Morrigan is a transgender woman who has been cast as the lead in REC ROOM ARTS' production of AMADEUS. She is shattering the culture scene wide open with her take on Mozart, and Brett Cullum is there to talk about it with her. Then Paul Hope shows up to talk about his cabaret dedicated to Cy Coleman's music. And finally, R Lee Ingalls joins Brett to look at the LGBTQIA+ news stories for this week.  Tickets for AMADEUS:https://www.recroomarts.org/amadeusTickets for Paul Hope's CY COLEMAN CABARET: https://www.paulhopecabarets.org/season-2026-27Queer Voices airs in Houston Texas on 90.1FM KPFT and is heard as a podcast here.  Queer Voices hopes to entertain as well as illuminate LGBTQ issues in Houston and beyond.  Check out our socials at:https://www.facebook.com/QueerVoicesKPFT/ andhttps://www.instagram.com/queervoices90.1kpft/

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durée : 01:29:05 - par : Aurélie Moreau - Soliste d'exception, la clarinettiste Sabine Meyer est l'interprète remarquable d'un large répertoire où les grands classiques côtoient la création contemporaine. Aujourd'hui : Weber, Mozart, Schumann, Nielsen, Poulenc, Brahms et Takemitsu. - équipe : Cécile Bonnet des Claustres, Yuthou-Diego Hak-Lopes - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Envy has a terrible reputation. But the feeling itself can tell you what you value, where comparison has hooked you, and what you may need to work towards.In this episode, I separate malicious envy from the more useful kind, drawing on Alain de Botton, the story of Mozart and Salieri, and my own experiences learning guitar and Brazilian jiu-jitsu. I also share a simple envy diary practice you can try for one week.The point is not to pretend envy is noble. It is to stop hiding it, read the signal honestly, and turn it into work that matters.Free 7-Day Stoic Challenge: stoicchallenge.coThe Stoic Vault: stoicvault.com

durée : 01:28:59 - par : Aurélie Moreau - Le célèbre baryton-basse Sir Bryn Terfel a marqué de sa forte personnalité des rôles tels que Figaro de Mozart, Falstaff de Verdi, Scarpia de Puccini ou Wotan de Wagner. Il vient de prendre la direction artistique de l'Oxford International Opera. - équipe : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Check Out the Website: https://if-this-doesnt-work.pages.dev/Justin and Mike are back for a two-man episode that starts with one surprisingly serious question: why is saying “I love you” so much harder than just saying “love you”?Then everything falls apart.This week we're digging into the Ig Nobel Prizes, frozen poop knives, cockroach milk, military dolphins, zebra-striped cows, a 103-year-old Pasadena legend, stolen PBR, missing Mozart statues and some of the strangest real research ever attempted.We also finally put Mike's new live fact-checker to work which means we discovered very quickly that “HIGH CONFIDENCE” does not necessarily mean “correct.”Plus: what Charleston White figured out about letting the internet create your content for you, Mike's questionable theory about keeping his dating standards grounded, and the deal that could finally get Mike into therapy:10,000 SUBSCRIBERS = MIKE DOES THERAPY ON THE PODCAST.Check the link below for the new If This Doesn't Work site. You can suggest a guest, apply to come on the show, send us a story to discuss, or submit something completely anonymously.Subscribe, comment, send us something weird and tell your friends you love them.Actually say the whole thing.“I love you.”

This week's news in three separate files - the Good, the Bad and the Befuddling. Which involves … … have Oasis created their own economy? … are stadium gigs now like historical re-enactment? … “people listen to music more intently in Manchester as they're inside while it rains” … ‘includes All Things Must Pass miniature garden gnomes!' The mad money-draining joy of the luxury box-set … when bands don't change but audiences do …Sun = Happiness, Rain = Sorrow: lyrics as an emotional weather forecast … the pianist who wouldn't play minor chords … Nicky Hopkins on records by the Kinks, Beatles, Who and Stones (“She's A Rainbow was like a music-box Mozart”): has any session player made a more vital contribution? … “Lose two teeth in German nightclub brawl, go back to Burnage”: real and fictitious rock band Monopoly sets! … Blue Nile, Ann Peebles, Beautiful South, Paul Simon? What's the best song about rain? Plus J Blackfoot, Paul Simon's Kathy from Brentwood and birthday guest Matthew North.Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

durée : 01:28:28 - par : Aurélie Moreau - Le jeu du pianiste Seong-Jin Cho, 1er Prix du Concours Chopin en 2015, est à la fois réfléchi et poétique, virtuose et haut en couleurs, guidé par un sens naturel de l'équilibre impressionnant. Aujourd'hui : Chopin, Debussy, Mozart, Berg, Ravel… - équipe : Cécile Bonnet des Claustres, Etienne Rouch - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Après avoir partagé la scène de l'Opéra de Monte Carlo dans Pelléas et Mélisande de Debussy la saison dernière, Lea Desandre et Huw Montague Rendall se donnent la réplique dans Le Barbier de Séville de Rossini jusqu'au 10 octobre à l'Opéra Bastille. Ils participent à la reprise de la pétillante et jubilatoire production mise en scène par Damiano Michieletto. Une production particulièrement physique dans laquelle ils rivalisent d'humour et de virtuosité vocale. Les deux chanteurs se confieront ce soir sur leur complicité et leurs affinités musicales en particulier avec le répertoire rossinien. Ils nous parleront également de leurs projets à venir. Lea Desandre reviendra à l'Opéra de Paris cette saison pour un hommage à Régine Crespin et une nouvelle production d'Idoménée de Mozart. Tandis que Huw Montague Rendall s'apprête à partager la scène avec sa mère, la mezzo-soprano Diana Montague, dans une version de concert des Noces de Figaro de Mozart, le 13 octobre au Théâtre des Champs-Elysées.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

We would love to hear from you, wherever you are!We would love to hear from you, wherever you are! Drop us a reviewwww.perfectpitchreviews.com Win a night at The Royal Festival Hallhttp://www.perfectpitchreviews.com/giveaway Know someone who would love the show?http://www.perfectpitchreviews.com/referral Logo design by Robbie Mailer Howat @robbiemailerhowat

Nancy Novograd, owner of All Tame Animals, joins Jon Hansen, in for John Landecker, to discuss casting live snakes for the Metropolitan Opera's 1950s Coney Island–themed production of Mozart's Così fan tutte. Nancy shares about a yellow-peach sun-glow boa constrictor named Princess, with a brown boa named Nala serving as the understudy, as the two […]

Caring for a parent with Alzheimer's can bring love, frustration, grief, exhaustion, laughter, and unexpected moments of beauty—sometimes all in the same day.In this deeply personal episode of the Wise Divine Women Podcast, Dana Irvine continues her conversation with author Sarah Vosburgh about navigating her mother's Alzheimer's journey, the difficult decisions surrounding independence and driving, and the emotional realities families face as a loved one's cognitive abilities change.Sarah shares a powerful example of meeting her mother where she was rather than forcing a confrontation. Her mother repeatedly insisted, “No one is taking my keys.” Instead of removing the keys and creating distress, Sarah's family recognized that the keys represented independence and security. They quietly disabled the vehicle while allowing her mother to keep the keys exactly where she expected them to be.The conversation also explores the importance of community support. Friends, church members, Sarah's husband, and her children all played meaningful roles during the caregiving journey.One particularly beautiful connection remained through music. Sarah's mother continued singing in her church choir until shortly before entering memory care. Even when she could no longer properly follow the sheet music, the songs remained within her. Sarah recalls singing Mozart's Ave Verum Corpus beside her mother—one of those precious moments that became a memory to hold onto.Sarah also speaks candidly about the complicated relationship she shared with her mother, the expectations often placed on women as caregivers, the exhaustion that can come from caring too long without enough support, and the criticism caregivers sometimes receive from people who only see part of the situation.Through it all, Sarah reminds us that caregiving is rarely simple. There are often two sides to every decision, and compassion is needed not only for the person receiving care but also for the person providing it.A Message for CaregiversYou may not always be able to change what is happening, but you can look for opportunities to preserve dignity, connection and love.Sometimes caregiving means solving a problem differently.Sometimes it means accepting help.And sometimes it simply means remembering the song, sharing the coffee, sitting beside someone you love, and recognizing that these seemingly ordinary moments may someday become extraordinary memories.Connect with SarahLearn more about Sarah, her book, upcoming events and book club opportunities at SarahVosburgh.com.Sarah's book launches April 22, followed by an eight-city tour. She also shares that an audiobook version includes the voices of both of her daughters, creating an especially personal telling of their family story.Connect with DanaFor support with hormones, metabolism, breast health, digestion, and whole-body wellness, visit DanaIrvine.com and book a Health Clarity Call.Subscribe to the Wise Divine Women Podcast, leave a review, and share this episode with someone navigating Alzheimer's, dementia, caregiving, aging parents, or the complicated journey of loving someone through change.Alzheimer's caregiving, dementia caregiving, caring for aging parents, Alzheimer's family support, memory care, caregiver burnout, women caregivers, dementia and driving, Alzheimer's and music, faith and caregiving, caregiving support, caring for a mother with Alzheimer's,

What could your mind do with just a few moments of silence? This week Robert Greene explores the liberation that comes from practicing enlightenment through silence, and how recognition of death tragedy help him manage adversity in his daily life. Listen in as we discuss why manipulation is part of our makeup, why recognizing our failings makes us better people, and how a near-encounter with death changed his perception of adversity. Robert Greene is the author of the New York Times bestsellers The 48 Laws of Power, The Art of Seduction, The 33 Strategies of War, and The 50th Law. His highly anticipated fifth book, Mastery, examines the lives of great historical figures such as Charles Darwin, Mozart, Paul Graham and Henry Ford and distills the traits and universal ingredients that made them masters. In addition to having a strong following within the business world and a deep following in Washington, DC, Greene’s books are hailed by everyone from war historians to the biggest musicians in the industry (including Jay-Z and 50 Cent). Greene attended U.C. Berkeley and the University of Wisconsin at Madison, where he received a degree in classical studies. He currently lives in Los Angeles. You can see a full collection of Greene’s work here: https://www.amazon.com/stores/author/B001IGV3IS/allbooks?ingress=0&visitId=33a4f706-a8ef-4d25-8162-c1f038681070 Learn more about the gift of Adversity and my mission to help my fellow humans create a better world by heading to www.marcusaureliusanderson.com. There you can take action by joining my ANV inner circle to get exclusive content and information.See omnystudio.com/listener for privacy information.

Open mouth story jump out.   www.JayLeeming.com

This week we look at the AFD shock in Germany; the Green politician who married a Nazi; Country of the Week - Thailand; Leonard Cohen on Woke culture; Scottish boys being asked if they are pregnant; White privilege in the Scottish Ambulance service; The civil servant who identifies as a cat; White women explains why Muslims don't like dogs; Rapist appointed to police by diversity panel, rapes again; surrogacy in Australia; Dundee Uni suspends philosophy;  Top ten classical - no 6 - Mozart; Wendall Berry; Cassandra Wilson; The Rest is History in the New York Times; African Savannah greens; Kale - the hyped 'superfood'; Feedback; Chaplains at Download; Joel Osteen's 1, 000th sermon;  The MercyMe child sponsorship scam; and the Final Word - Psalm 13. With music from Phil Ochs; Bird Thongchai;  Leonard Cohen; Mozart; Cassandra Wilson;  The Imperials; Cabbage; Supertramp;  Sovereign Grace Music; Guns and Roses; 

A warning: the audio has a nasty echo for the first few minutes. It does eventually sort itself out. Do persevere. Foundring - pianist, singer, songwriter, World's Fastest Anagram Solver - returns to serenade James on his birthday and to astonish him with his insights into the true history of music. On the menu: how to win at Scrabble; did Mozart really write all of Mozart?; why ‘coon music' isn't offensive; why ragtime and jazz aren't ‘black', plus, a very unexpected answer when James jokily asks the question “Are you MK Ultra?” https://linktr.ee/foundring ↓ ↓ This Delingpod is very kindly sponsored by https://sinacrisps.com The crisp you can eat without the guilt. No seed oils and just 3 ingredients. Use code: JAMES with your purchase for 15% off. ↓ ↓ Sharklings Assemble — Saturday 10th October 2026, my neck of the woods in Northants. My guest is Feargus O'Connor Greenwood, author of 180 Degrees: Unlearn The Lies You've Been Taught To Believe. Unregistered Chickens are playing, there's wood-fired pizza, and there are twenty VIP places for anyone who fancies a chat and some bell ringing thrown in. Standard and VIP tickets here: https://www.jamesdelingpole.co.uk/Shop/Events/sharklings-assemble-ft-feargus-o-connor-greenwood-live-event ↓ ↓ How environmentalists are killing the planet, destroying the economy and stealing your children's future. In Watermelons, an updated edition of his ground-breaking 2011 book, James tells the shocking true story of how a handful of political activists, green campaigners, voodoo scientists and psychopathic billionaires teamed up to invent a fake crisis called ‘global warming'. This updated edition includes two new chapters which, like a geo-engineered flood, pour cold water on some of the original's sunny optimism and provide new insights into the diabolical nature of the climate alarmists' sinister master plan. Purchase Watermelons by James Delingpole here: https://jamesdelingpole.co.uk/Shop/ ↓ ↓ ↓ Buy James a Coffee at: https://www.buymeacoffee.com/jamesdelingpole To support independent, no-holds-barred journalism and gain first and full access to all James's content, subscribe directly at https://www.jamesdelingpole.co.uk x

Andrés Amorós continua con la quinta parte del ciclo dedicado a Mozart.

durée : 01:28:59 - par : Aurélie Moreau - Né en 1756 à Salzbourg, Mozart est l'un des plus grands génies de la musique. Pianiste virtuose et compositeur prolifique, il a laissé une œuvre exceptionnelle : symphonies, concertos, opéras, musique de chambre et musique sacrée, exploitant toutes les formes musicales de son époque. - équipe : Cécile Bonnet des Claustres, Ferdinand Prevaux - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:17:52 - par : Lionel Esparza - En avril 1955 Elisabeth Schwarzkopf et Walter Gieseking enregistraient pour Columbia des lieder de Mozart miraculeux de perfection et de simplicité. - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

On September 26, 2025, last year’s Best Picture Oscar winner, One Battle After Another, a loose adaptation of Thomas Pynchon’s novel Vineland, hit wide release in theaters. And then 11 days later, on October 7, Pynchon published what might be his final novel, Shadow Ticket. Not a bad year for an 89-year-old writer. This hour, a look at the (maybe) reclusive Pynchon and the novels and stories he’s published, from Gravity’s Rainbow to Mason & Dixon and more. Plus: a look at the two Paul Thomas Anderson movies that Pynchon’s work has inspired, Inherent Vice and One Battle After Another. GUESTS: David Cowart: Distinguished professor emeritus of English language and literature at the University of South Carolina and the author of a number of books, including Thomas Pynchon: The Art of Allusion and Thomas Pynchon and the Dark Passages of History Ana Gavrilovska: A writer; you can find her work in Current Affairs, Uncut Magazine, Maggot Brain, and her Substack, Sick Sad Motherslug Leonardo Goi: A journalist and film critic Brian Slattery: A writer and musician Music featured (in order): Don Giovanni, K. 527: Overture – W.A. Mozart as performed by Claudio Abbado and the Chamber Orchestra of Europe The most referenced piece of music in Pynchon’s catalogue. Gravity’s Angel – Laurie Anderson The Royal Scam – Steely Dan Mentioned in Bleeding Edge. Run Straight Down – Warren Zevon Zevon attributed this song to overdosing on Pynchon — the opening words are just carcinogenic chemicals. Bang Bang (My Baby Shot Me Down) – Bonzo Dog Band Pynchon put out his own playlist for Inherent Vice. This was on it. The Revolution Will Not Be Televised – Gil Scott-Heron The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Dylan Reyes contributed to this show, which originally aired on April 15th, 2026.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

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

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

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

In Regensburg kam er zur Welt, ein niederbayrischer Lauser - arm an Geld, reich an Ideen. Richtig guten Ideen sogar: Ohne Emanuel Schikaneder würde es eine der populärsten Opern überhaupt nicht geben: Mozarts "Zauberflöte"!

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

That's our big thank you wish for all the fun and support on the Epic Baseball Road Trip. 8 ballparks, 10 beds, 2799 miles, a handful of breweries, wineries, and distilleries, one amazing day with Bob at the NLBM, one Scottish play, one evening of Mozart and Frank Zappa, more cheese than should be legal, and the kindest, friendliest baseball fans and staff we could hope to meet. Today's show brings you the St. Louis and Louisville leg of the trip. At Busch Stadium we had our best seats of the trip, and then effectively free seats the second night to watch the Os win 2 over the Cards. We taught grown ups about how to read the scoreboard and a kid how rally caps work. We learned that our adopted brewery was legally and effectively one pint away from the ballpark. We saw bfs Ivan and JJ in action. Pottymouth came this close to a Blaze on Blaze situation. We saw Matt in the stands watching Jackson, and fans wearing both of their #7s, In Louisville we took in an unplanned bonus game – CIN AAA team the Louisville Bats were hosting ATL's Gwinnett Stripers and we could not say no to Thrifty Thursday tickets. We got to see some former bfs at work (José Azocar, Kyle Farmer, and Will Benson), and a preteen giving Pottymouth a withering look for her PG-13 joy in seeing Michael Chavis in the lineup. We saw how the bats get made and fangirled over getting to hold Frank Robinson and Carl Yazstremski's bats, and oh yeah, Babe Ruth's too, at the Louisville Slugger museum and factory. And then we switched to distilleries. There's some financial scandal, or at least hard questions, happening over at the WPBL. Cheers to Kinley Rasmus and Carsynn Meyer creating still more firsts for girls in the LLWS.We say, “Do you mean the temperature, or the heat of your spicy margarita?” “You had an Iced Tragedy and I had a Hot Fitzgerald,” and “I love Little Blue.” Fight the man, go see some live baseball, send your game balls to Meredith, and find us on Bluesky @ncibpodcast, on Facebook @nocryinginbball, Instagram @nocryinginbball and on the Interweb at nocryinginbball.com. Please take a moment to subscribe to the show, and leave us a review on Apple Podcasts or wherever you listen to NCiB. Become a supporter at Patreon to help us keep doing what we do. We now have episode transcripts available!  They are available for free at our Patreon site. Say goodnight, Pottymouth. 

Romanticism made Scotland famous. It critically shaped the course of Scottish culture, while impacting on cultures elsewhere and inaugurating the country's still-flourishing and lucrative tourist industry. This book is about Edinburgh's most emblematic architecture over the long 19th century: the castellated and stone built cityscape of national revivalist architecture. It reveals why Scotland had by the 1820s become one of Europe's great centres of Romanticism, due both to the majestic Highlands, and to Edinburgh itself as city of Romanticism. Additionally, Edinburgh developed as the main centre and hub for travellers drawn to Romantic Scotland through the work of James ‘Ossian' Macpherson and Sir Walter Scott: visitors including Schinkel, Mozart, Verne, Turner, Haydn, amongst innumerable others. Edinburgh: City of Romanticism (Lund Humphries, 2026) by Dr. Aonghus MacKechnie also provides a long-overdue counterbalance to the contrastingly much-examined and much-published topic of Enlightenment Edinburgh, showing how this and Romantic Edinburgh have comfortably co-existed. It examines how Edinburgh's Romanticism was similarly driven by intellectuals, amongst whom were Enlightenment figures and artistically talented individuals, and it discusses the legacy of those who contributed to the Romantic cityscape of today; an architecture that provides much of the character of the UNESCO-designated World Heritage Site and of the city that countless tourists come daily to see. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Romanticism made Scotland famous. It critically shaped the course of Scottish culture, while impacting on cultures elsewhere and inaugurating the country's still-flourishing and lucrative tourist industry. This book is about Edinburgh's most emblematic architecture over the long 19th century: the castellated and stone built cityscape of national revivalist architecture. It reveals why Scotland had by the 1820s become one of Europe's great centres of Romanticism, due both to the majestic Highlands, and to Edinburgh itself as city of Romanticism. Additionally, Edinburgh developed as the main centre and hub for travellers drawn to Romantic Scotland through the work of James ‘Ossian' Macpherson and Sir Walter Scott: visitors including Schinkel, Mozart, Verne, Turner, Haydn, amongst innumerable others. Edinburgh: City of Romanticism (Lund Humphries, 2026) by Dr. Aonghus MacKechnie also provides a long-overdue counterbalance to the contrastingly much-examined and much-published topic of Enlightenment Edinburgh, showing how this and Romantic Edinburgh have comfortably co-existed. It examines how Edinburgh's Romanticism was similarly driven by intellectuals, amongst whom were Enlightenment figures and artistically talented individuals, and it discusses the legacy of those who contributed to the Romantic cityscape of today; an architecture that provides much of the character of the UNESCO-designated World Heritage Site and of the city that countless tourists come daily to see. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Nerea Pérez de las Heras presenta Fantasma (Alfaguara), un libro que parte del accidente que sufrió en 2023 para reflexionar sobre el cuerpo, la discapacidad y aquello que permanece cuando algo ya no está. Una conversación sobre el sistema sanitario, los cuidados, la clase social, la belleza, el paso del tiempo y, sobre todo, nuestra forma de mirar.Además, conocemos las consecuencias del derrumbe de parte del Palacio de los Hurtado de Mendoza de Almazán; acompañamos a Silvio Rodríguez en el comienzo en Barcelona de su nueva gira por España; y estrenamos temporada de cómic con Javi Alonso, de Territorio 9, para poner en el radar las principales citas de los próximos meses, desde Manga Barcelona y la visita de Junji Ito hasta la Feria del Cómic de Madrid y Comic Barcelona.Escuchamos también Ses dones d’aigua, el nuevo disco del músico mallorquín Jose Domingo, inspirado en los paisajes y tradiciones mediterráneas de la Serra de Tramuntana y las islas. Y Enrique Mejías regresa a El Ojo Crítico para hablar del arte de empezar en el teatro musical, con las oberturas de Mozart, Rossini, Wagner y Chueca como protagonistas.Escuchar audio

Romanticism made Scotland famous. It critically shaped the course of Scottish culture, while impacting on cultures elsewhere and inaugurating the country's still-flourishing and lucrative tourist industry. This book is about Edinburgh's most emblematic architecture over the long 19th century: the castellated and stone built cityscape of national revivalist architecture. It reveals why Scotland had by the 1820s become one of Europe's great centres of Romanticism, due both to the majestic Highlands, and to Edinburgh itself as city of Romanticism. Additionally, Edinburgh developed as the main centre and hub for travellers drawn to Romantic Scotland through the work of James ‘Ossian' Macpherson and Sir Walter Scott: visitors including Schinkel, Mozart, Verne, Turner, Haydn, amongst innumerable others. Edinburgh: City of Romanticism (Lund Humphries, 2026) by Dr. Aonghus MacKechnie also provides a long-overdue counterbalance to the contrastingly much-examined and much-published topic of Enlightenment Edinburgh, showing how this and Romantic Edinburgh have comfortably co-existed. It examines how Edinburgh's Romanticism was similarly driven by intellectuals, amongst whom were Enlightenment figures and artistically talented individuals, and it discusses the legacy of those who contributed to the Romantic cityscape of today; an architecture that provides much of the character of the UNESCO-designated World Heritage Site and of the city that countless tourists come daily to see. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Romanticism made Scotland famous. It critically shaped the course of Scottish culture, while impacting on cultures elsewhere and inaugurating the country's still-flourishing and lucrative tourist industry. This book is about Edinburgh's most emblematic architecture over the long 19th century: the castellated and stone built cityscape of national revivalist architecture. It reveals why Scotland had by the 1820s become one of Europe's great centres of Romanticism, due both to the majestic Highlands, and to Edinburgh itself as city of Romanticism. Additionally, Edinburgh developed as the main centre and hub for travellers drawn to Romantic Scotland through the work of James ‘Ossian' Macpherson and Sir Walter Scott: visitors including Schinkel, Mozart, Verne, Turner, Haydn, amongst innumerable others. Edinburgh: City of Romanticism (Lund Humphries, 2026) by Dr. Aonghus MacKechnie also provides a long-overdue counterbalance to the contrastingly much-examined and much-published topic of Enlightenment Edinburgh, showing how this and Romantic Edinburgh have comfortably co-existed. It examines how Edinburgh's Romanticism was similarly driven by intellectuals, amongst whom were Enlightenment figures and artistically talented individuals, and it discusses the legacy of those who contributed to the Romantic cityscape of today; an architecture that provides much of the character of the UNESCO-designated World Heritage Site and of the city that countless tourists come daily to see. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.  Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:28:51 - par : Aurélie Moreau - Ning Feng, violoniste à la virtuosité époustouflante, à la musicalité innée, est l'invité de scènes prestigieuses et de festivals internationaux, en concerto, récital et musique de chambre. Aujourd'hui : Vieuxtemps, Bach, Mozart, Sarasate, Paganini… - équipe : Cécile Bonnet des Claustres, Thomas Guinegagne - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

An amazing visit to the Teatro Filarmonico in Verona is one of the oldest in Italy and has a long tradition and was where Mozart performed on his first visit to Verona.Amazing access!See omnystudio.com/listener for privacy information.

Romanticism made Scotland famous. It critically shaped the course of Scottish culture, while impacting on cultures elsewhere and inaugurating the country's still-flourishing and lucrative tourist industry. This book is about Edinburgh's most emblematic architecture over the long 19th century: the castellated and stone built cityscape of national revivalist architecture. It reveals why Scotland had by the 1820s become one of Europe's great centres of Romanticism, due both to the majestic Highlands, and to Edinburgh itself as city of Romanticism. Additionally, Edinburgh developed as the main centre and hub for travellers drawn to Romantic Scotland through the work of James ‘Ossian' Macpherson and Sir Walter Scott: visitors including Schinkel, Mozart, Verne, Turner, Haydn, amongst innumerable others. Edinburgh: City of Romanticism (Lund Humphries, 2026) by Dr. Aonghus MacKechnie also provides a long-overdue counterbalance to the contrastingly much-examined and much-published topic of Enlightenment Edinburgh, showing how this and Romantic Edinburgh have comfortably co-existed. It examines how Edinburgh's Romanticism was similarly driven by intellectuals, amongst whom were Enlightenment figures and artistically talented individuals, and it discusses the legacy of those who contributed to the Romantic cityscape of today; an architecture that provides much of the character of the UNESCO-designated World Heritage Site and of the city that countless tourists come daily to see. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In Regensburg kam er zur Welt, ein niederbayrischer Lauser - arm an Geld, reich an Ideen. Richtig guten Ideen sogar: Ohne Emanuel Schikaneder würde es eine der populärsten Opern überhaupt nicht geben: Mozarts "Zauberflöte"!

British actor Tim Curry died on August 26th at the age of 80. Celebrated for his infamous portrayal of Frank-N-Furter in the musical The Rocky Horror Picture Show, his decades-long career included many other roles on stage and screen. Among them, Mozart in Amadeus; King Arthur in the Monty Python musical Spamalot; and the evil clown, Pennywise, in a television adaptation of Stephen King's It. In a generous obituary, the BBC shared tributes from many friends and admirers in the arts. One was from comedienne Carol Burnett, who wrote on social media that "nobody could play lovable villains better than he could". And that is the Curry we are pleased to share with you in this special bonus podcast, in his deliciously chilling and seductive reading of Stephen O'Connor's "Ziggurat." Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Andrés Amorós continua el ciclo dedicado a Mozart.

We would love to hear from you, wherever you are!We would love to hear from you, wherever you are! Drop us a reviewwww.perfectpitchreviews.com Win a night at The Royal Festival Hallhttp://www.perfectpitchreviews.com/giveaway Know someone who would love the show?http://www.perfectpitchreviews.com/referral Logo design by Robbie Mailer Howat @robbiemailerhowat

Investor and businessman John Kim has studied AI extensively. As a Christian he has prayed about AI extensively. What role if any does AI play in the future of the Church?In our first of episode addressing the topic, Ryan interviews John Kim, a prominent New York businessman who shares what he thinks the future is going to look like as Christians grapple with a technology that is changing the foundations of how we work and create.00:00 Cold Open: The Stomach Growl 00:20 Welcome & Meet John Kim 01:31 The Catholic Icebreaker04:54 MIT Testimony: When God Rewired My Brain 10:03 Ask for Wisdom, Not Just the Outcome 13:12 Discerning God Voice in Business Decisions 17:33 AI as a Tool: Where Christians Fit 25:41 Is There a Christian Edge Against AI? 28:47 Human Presence: What Stays Scarce30:17 Mozart, Salieri, and the AI Gospel Hit -- AD BREAK 2: Casper + Mars Men 41:20 Elvis,Math, and the Robot Golfer 46:02 Creative Destruction and the Christian Advantage 55:16 Spain,Contentment, and the Tesla Bet 66:25 Stewardship, Prosperity Gospel, and Raising Samuel Right 84:22 Scheduled Divine Boredom and Hearing God's Voice 91:44 The Stomach-Growl House Negotiation 96:48 Mammon, Power, and the Loneliness of Wealth 103:06 AI, End Times, and the Tower of Babel 108:23 - Proving you're not an avatarThank You To Our Sponsors!Get $35 off your first box of wild-caught, sustainable seafood—delivered right to your door. Go to: https://www.wildalaskan.com/EXFILES.Get 15% off OneSkin with the code EXFILES at https://oneskin.co/exfilesRight now save up to 30% on mattresses and up to 35% on everything else when you go to Casper.com. https://Casper.com.For a limited time, our listeners get 50% off FOR LIFE, Free Shipping, AND 3 Free Gifts at Mars Men at Mengotomars.com.Join Exodus90 for their St. Michael's Lent Challenge starting August 12th. Go to https://Exodus90.com/exfiles for a free trial.Sign up for the Vault to support the show and get access to the dramatic episodes a day early! https://Exorcistfiles.supercast.comFollow us on IG at https://instragram.com/exorcistfiles and https://www.instagram.com/TheBetheaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

ENTRE NA LISTA DE ESPERA DO VIVER DE RENDA: https://r.vocemaisrico.com/2578c2bd18ABRA SUA CONTA NA COINBASE: https://r.vocemaisrico.com/72f2133408Ao longo da história, algumas mentes se destacaram tanto que passaram a ser lembradas como os maiores gênios da humanidade — indivíduos capazes de revolucionar a ciência, a arte, a filosofia e a forma como compreendemos o mundo.De Leonardo da Vinci a Einstein, de Mozart a Marie Curie, cada um deixou um legado que atravessa séculos e continua influenciando a vida de todos nós.Mas quem realmente merece o título de "maior gênio" de todos os tempos? Seria justo comparar um cientista como Newton com um artista como Shakespeare, ou cada área exige seus próprios critérios de genialidade?Quais nomes menos conhecidos, esquecidos pela história ou pouco celebrados no Ocidente, também deveriam estar nessa lista? E o que aprendemos, afinal, observando as trajetórias dessas mentes extraordinárias?Para conversar sobre isso e muito mais, convidamos Felipe Guisoli (Universo Narrado) para o episódio 313 do podcast Os Sócios. Falaremos sobre os maiores nomes da história humana, seus legados, suas histórias pessoais e por que continuamos fascinados por eles até hoje.Ele será transmitido nesta quinta-feira (27/08), às 12h, no canal Os Sócios Podcast.Hosts: Bruno Perini @bruno_perini e Malu Perini @maluperiniConvidados: Felipe Guisoli @universonarrado

Der mehrfache Grammy-Preisträger aus New Orleans mischt Klassik, Jazz und Blues - und transzendiert dabei die großen Vorbilder.

Lords: Rebecca Martin Topics: Running a home server: Easier than you might think and very useful to do The best place to find poetry is on vacation Winston reading every sign in Target Zampiceni's Marketplace, by Margaret Szumonski https://toots.ravenoak.dev/@rebecca/116899616527167036 Hot dog research thursdays and bad dracula nights Microtopics: Tomato season: the tomatoes look pretty good. Mozart in the Park. Actors: they're not fussy like cellists. Ancient Greek plays where they stab each other. 10 hours of Star Trek engine noises. An illicit hacker breaking into your Jellyfin server and watching your Star Trek. Listen to Data putter around. A recurring thing with a database that you have to keep debugging. Building a normal computer out of normal parts. Everybody being each other's encrypted off-site backup. Opening books and closing them, then opening them again and closing them again. The one about the horny grocery store. Having a difficult time finding delicious food in Massachusetts. The kind of food they feed you on a weaving retreat. Sitting in a Starbucks, staring at the internet and rotting. Walking into an indie music store and perusing the local music section. Getting mad on vacation because you miss your cats. Nothing Beats Doing Nothing. Buying grape juice from vineyards and making wine at home. All the little guys that help you make wine and cheese. Wrapping your wine fermentation vats in blankets so all the bacteria are more comfortable. Folks who assume you know about wine because you're from California. An advertisement exhorting you to go where you already are. Abag & Iclei?? What does that mean? Puzzling out the vanity plates. Growing up watching only PBS and then falling for every ad as an adult because you have no ad literacy. Seeing a targeted ad and feeling like you failed as a person because you want to buy the thing. How Instagram ruined hash tags. Getting off-topic but it's okay because it's a different topic. Prose poems and deconstructed sandwiches. Absolutely! No parking! For Buca di Beppo! Having notes on this sign. Seeing a sign and thinking "hmm, someone must've parked for Buca di Beppo here." Your tight five on East Coast Fallouts ruined the Fallout TV series. The grocer cutting open the pomegranates so you can touch them. Muscles building like coconuts, lifting whole regimes of bananas. Why are husbands so wrong about Zampiceni's Marketplace? Moammar Gaddafi's obsession with Condoleezza Rice. Getting curious what Danny Devito was doing in the 1970s. The invention of No-Fault Divorce. Be sure to marry someone you can go to the grocery store with. (Especially the sexy grocery store.) Saving the horny onions for your next appearance. What to do with all the write-in topics now that we don't have a write-in segment. Who to turn to for pizza research now that the Pizza Research Institute has shut down. A pizza that's more like a heaping roasted salad. Inventing the peanut butter and pickle hot dog once a week. Putting peanut butter on noodles. Food wizards. As much star anise as you could possibly ever use. Learning to cook in a no-onion environment. Fermenty Black Beans. Medium to high-effort hot dogs. Dracula just trying to be a good dad. Quitting Bad Dracula Day for good. Lucy pulling the football away. (The football is good Dracula movies.) A movie where karate guys do kick-ass moves while children are being trafficked. Michelle Yeoh as Cop Lady. Fast forward 200 years and it's 1972 and there's a funk soundtrack. Hosting your own patreon, and other ideas that will definitely work. Being on the Fediverse to post and on Bluesky to cry. What Gene Siskel thinks of the Blacula sequel.

Andrés Amorós continua el ciclo dedicado a Mozart, en esta ocasión, la Sinfonía nº 36 y Sinfonía nº 38.

Jill Gomez, the brilliant, intrepid Trinidadian-British soprano, known for the last fifteen years of her life as Jill Carnegy, Countess of Northesk, died on August 11, just a few weeks short of her 84th birthday. She is a singer that I have loved and followed for decades, and one whose recordings I collected assiduously and that I had earmarked for a special celebratory episode, one that, like with Ben Luxon a few years ago, is instead being offered as a posthumous tribute. Not nearly as universally known as her younger colleague Felicity Lott, who died this spring, Gomez was a similarly eclectic, adventurous artist. Her accomplishments covered the gamut from the classiest, most pristine singer of Baroque music, to the most deep-delving recitalist, from the most playful purveyor of crossover material to the creator of roles in challenging contemporary operas including Michael Tippett's The Knot Garden in 1970 and Thomas Adès's Powder Her Face 25 years later. She also sang a wide range of operatic parts (primarily in the UK) from Mozart to Massenet. This episode, which includes collaborations with Robert Tear, Pierre Boulez, Franz Grundheber, John Constable, Ria Bollen, Felicity Palmer, and Benjamin Luxon, presents as wide-ranging a portrait in sound as you are ever likely to encounter anywhere, including excerpts from all the works mentioned above, to music by Ravel, Donizetti, Turina, Mahler, Schumann, Rameau, Wolf, Monteverdi, Debussy, Pergolesi, and Britten. The icing on the cake is an intimate and exquisite rendition of Satie's “Je te veux” that will remain in your mind's ear long after the episode is over. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

When it comes to a piece like the Mozart Clarinet Concerto, a few words or phrases regularly come up: the concerto is described as "mellow" or Mozart's "swan song," but most often it is described as "perfect." Such a perfect piece as Mozart's Clarinet Concerto must have been hugely popular during Mozart's lifetime, right? It must have been played all over, by all the virtuoso clarinetists of the day. Well, that is not even close to the case. At the age of 35, Mozart was kind of old news in the economically depressed, repressed, and censored city of Vienna in 1790. There were very few concerts during this period, and Mozart's popularity had waned severely. The clarinet concerto, one of a wealth of brilliant (and yes, perfect) pieces Mozart wrote in the final year of his life, was performed once by the man for whom Mozart wrote it, Anton Stadler, before Mozart's death, but the location and the program of that concert are forgotten. The manuscript of the concerto is lost, which means we actually don't know a lot about it, especially considering it wasn't actually written for a standard clarinet, but for a basset clarinet (we'll get to that later). The piece was written just about two months before Mozart's death and was his last completed work, though there's absolutely no evidence that Mozart knew he was dying when he wrote it. All in all, there's actually a lot of mystery surrounding this perfect piece, and yet, when we hear the luminous music that Mozart wrote, all of this falls away. There is truly a kind of perfection to this music, a golden quality that is inescapable. There is no clarinet concerto that is performed more often or more recorded, and it remains a perennial favorite for clarinetists and orchestras around the world. Today, on this Patreon-sponsored episode, we'll talk about all these mysteries surrounding this concerto, Anton Stadler, the basset clarinet, and of course, the wonderful music itself, though, as always, Mozart sometimes defies description. Join us!

[@ 5 min] Alright, this week...it's part two of our coverage of the Santa Fe Opera ,starting with a Free Throw on the artistry of Iestyn Davies! [@11 min] Then, Handelian prima donna Lucy Crowe goes Inside the Huddle to champion the Experienced, Middle-Aged singer... [@ 29 min] AND then...a bonus Free Throw on the late Jessye Norman from her last recital partner, pianist and composer Damien Sneed! [@ 37 min] Plus, in the Two Minute Drill...recovery in Detroit, the latest installments of Kennedy Center buffoonery, and throngs of missing mini Mozarts! GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

A special concert celebrating the 100th anniversary of the birth of the world-renowned Australian soprano Joan Sutherland is to be held this week at the Sydney Opera House. This month's VIVA Opera! will also pay tribute to the great achievements of Sutherland, who passed away in 2010. - オーストラリア出身の世界的歌姫、ジョーン・サザーランドの生誕100年を祝う特別コンサートが今週、シドニーオペラハウスで行われます。今月のVIVA Opera!でも、2010年に亡くなったサザーランドの偉大な功績を讃え、キャリアを振り返ります。Listen to SBS Japanese Audio on Tue, Thu and Fri from 1pm on SBS 3.　Replays from 10pm on Tue, Thu and Sat on SBS1.　Listen to past stories from our podcast. Download the free SBS Audio App and don't forget to visit SBS Japanese Facebook and Instagram page! - SBSの日本語放送は火木金の午後１時からSBS3で生放送！火木土の夜10時からはおやすみ前にSBS1で再放送が聞けます。SBS日本語放送ポッドキャストから過去のストーリーを聞くこともできます。無料でダウンロードできるSBS Audio Appもどうぞ。SBS 日本語放送のFacebookとInstagramもお忘れなく。

Montevideo / Auditorio del Sodre Alejandro Dolina, Patricio Barton, Gillespi, “Trío Sin Nombre” Introducción • 0:00:00 Apertura por el festejo de los 40 años del programa y agradecimiento por el saludo del público • 0:01:20 Comentario sobre la costumbre de saludar y el valor del intercambio entre artista y público Segmento inicial • 0:04:22 Mención al restaurante Primuseum de Montevideo • 0:05:53 Presentación del tema sobre los esquimales o inuit y el turismo al Polo Norte Segmento dispositivo • 0:07:56 Vida de los inuit: nomadismo, caza, abrigo, alimentación y perros de trineo • 0:21:43 Iglúes, matrimonio, besos esquimales y costumbres sociales • 0:30:41 Tumbas de personajes famosos: Mozart, Genghis Khan, Atila, Cleopatra, Alejandro Magno, Lao Tse y el valor funerario en Egipto Cierre musical • 0:58:25 Canciones finales y despedida musical con varias interpretaciones • 1:16:20 Mención a Radio 750 y continuidad de la programación (Resumen generado automáticamente con IA, puede contener errores)