Podcasts about Music education

Is Steely Dan's Gaucho more perfect than Aja? Maybe even ... too perfect? Two years in the studio. The greatest session musicians alive asked to play take after take after take until it was exactly right. And sometimes that STILL wasn't enough for Donald Fagen and Walter Becker.On today's episode of You'll Hear It, jazz pianists Peter Martin and Adam Maness are breaking down the 1980 album track by track: the jazz harmony hiding inside those smooth grooves, the abstract poetry of the lyrics, and the insane stories behind how this thing got made. Including the $150,000 drum machine invented specifically for this record, the interview quote that cost them a third of a song, and the drum track that took 85 takes and 35 tape edits to piece together.And after all that, we didn't get another Steely Dan record for 20 years.Was it worth it?Read about the simple mistake that would haunt Steely Dan for 44 years in this week's edition of the You'll Read It newsletter: https://youllhearit.com/newsletterWatch our FULL breakdown of Steely Dan's Aja: https://youtu.be/G10mYohR6T400:00 - Steely Dan's Gaucho: A Monument to Perfect01:15 - "Babylon Sisters"11:00 - What Makes Steely Dan Genius13:35 - The Precision of Purdie's Drums on Babylon Sisters16:10 - Abstract Lyrics19:35 - "Hey Nineteen"22:25 - Pristine Rhodes25:25 - Isolated Vocal Stems on "Hey Nineteen"33:00 - "Glamour Profession"38:55 - The Mingus Influence40:10 - "Gaucho"43:20 - The Keith Jarrett Lawsuit48:50 - Gaucho Chorus Deep Dive54:10 - "Time Out Of Mind"57:50 - Monument to Perfectionism (Lead Boots)1:01:35 - Perfectionism and Jazz1:05:05 - Is Gaucho More Perfect Than Aja?1:06:25 - "My Rival"1:10:40 - Bowie / Steely Dan Side-By-Side1:14:00 - Too Fussy?1:19:05 - Open Studio Plays "Glamour Profession"

In this episode of the Crazy Wisdom podcast, host Stewart Alsop interviews John von Seggern, founder of Future Proof Music School, about the intersection of music education, technology, and artificial intelligence. They explore how musicians can develop timeless skills in an era of generative AI, the evolution of music production from classical notation to digital audio workstations like Ableton Live, and how AI is being used on the education side rather than for creation. The conversation covers music theory fundamentals, the development of instruments and recording technology throughout history, complex production techniques like sidechain compression, and the future of creative work in an AI-assisted world. John also discusses his development of Cadence, an AI voice tutor integrated with Ableton Live to help students learn music production. For those interested in learning more about Future Proof Music School or becoming a beta tester for the AI voice tutor, visit futureproofmusicschool.com.Timestamps00:00 Future Proofing Musicians in a Changing Landscape03:07 The Role of AI in Music Education05:36 Generative AI: A Tool for Musicians?08:36 The Evolution of Music Creation and Technology11:30 The Impact of Recording Technology on Music14:31 The Fragmentation of Culture and Music17:19 Exploring Music History and Theory20:13 The Relationship Between Music and Memory23:07 The Future of Music Creation and AI26:17 The Importance of Live Music Experiences28:49 Navigating the New Music Landscape31:47 The Role of AI in Finding New Music34:48 The Creative Process in Music Production37:33 The Future of Music Theory and Composition40:10 The Search for Unique Artistic Voices43:18 The Intersection of Music and Technology46:10 Cultural Shifts in the Music Industry49:09 Finding Quality in a Sea of ContentKey Insights1. Future-proofing musicians means teaching evergreen techniques while adapting to AI realities. John von Seggern founded Future Proof Music School to address both sides of music education in the AI era. Students learn timeless production skills that won't become obsolete as technology evolves, while simultaneously exploring meaningful creative goals in a world where generative AI exists. The school uses AI on the education side to help students learn, but students themselves aren't particularly interested in using generative AI for actual music creation, preferring to maintain their creative fingerprint on their work.2. The 12-note Western music system emerged from mathematical relationships discovered by Pythagoras and enabled collaborative music-making. Pythagoras demonstrated that pitch relates to vibrating string lengths, establishing mathematical ratios for musical intervals. This system allowed Western classical music to flourish because it could be notated and taught consistently, enabling large groups to play together. However, the piano is never perfectly in tune due to necessary compromises in the tuning system. By the 1920s, composers had explored most harmonic possibilities within this framework, leading to new directions in musical innovation.3. Recording technology fundamentally transformed music by making the studio itself the primary instrument. The invention of audio recording in the early-to-mid 20th century shifted music from purely instrumental composition to sound-based creation. This enabled entirely new genres like electronic dance music and hip-hop, which couldn't exist without technologies like synthesizers and samplers. Modern digital audio workstations like Ableton Live allow producers to have unlimited tracks and manipulate sounds in infinite ways, making any imaginable sound possible and moving innovation from hardware to software.4. Generative AI will likely replace generic music production but not visionary artists. John distinguishes between functional music (background music for films, work, or bars) and music where audiences deeply connect with the artist's vision. AI excels at generating functional music cheaply, which will benefit indie filmmakers and similar creators. However, artists with strong creative visions who audiences follow and identify with won't be replaced. The creative fingerprint and personal statement of important artists will remain valuable regardless of the tools they use, just as DJs created art through curation rather than original production.5. Copyright restrictions are limiting generative music AI's quality compared to other AI domains. Unlike books and visual art, recorded music copyrights are concentrated among a few companies that defend them aggressively. This prevents AI music models from training on the best music in each genre, resulting in lower-quality outputs. Some developers claim their private models trained on copyrighted music sound better than commercial offerings, but legal constraints prevent widespread access. This situation differs significantly from other creative domains where training data is more accessible.6. Modern music production involves complex technical skills like sidechain compression and multi-track mixing. Today's electronic music producers work with potentially hundreds of tracks, each with sophisticated processing. Techniques like sidechain compression allow certain elements (like kick drums) to dynamically reduce the volume of other elements (like bass), ensuring clarity in the final mix. Future Proof Music School teaches students these complex production techniques, with some aspiring producers creating incredibly detailed compositions with intricate effects chains and interdependent track relationships.7. Culture is fragmenting into micro-trends, making discovery rather than creation the primary challenge. John observes that while the era of mass media created mega-stars like The Beatles and Elvis, today's landscape features both enormous stars (like Taylor Swift) and an extremely long tail of creators making niche content. AI will make it easier for more people to create quality content, particularly in fields like independent filmmaking, but the real problem is discovery. Current algorithmic recommendations don't effectively surface hidden gems, suggesting a future where personal AI agents might better curate content based on individual preferences rather than platform-driven engagement metrics.

I got to sit down with Alison Prestwood, an A-list bassist, singer, and bandleader whose playing has been anchoring records and stages for decades, and it felt like catching up with someone I should've known for years.We talked about her leap from Atlanta to Nashville in the early '90s, what it's like leaving steady work to chase the next chapter, and how those five-to-six-nights-a-week club years built the kind of chops and confidence that translate anywhere. Alison shares the winding path that led her into Nashville's session world (including a wild early moment overdubbing on a Ronnie Milsap master), and how hearing players like Glenn Worf and Michael Rhodes up close pushed her into that “forever climbing” mindset that great musicians live in.She also goes deep on her musical north stars: Paul McCartney, James Jamerson, Willie Weeks, Lee Sklar, and especially Carol Kaye, including an incredible story about spending a full weekend at Carol's house working on pick technique and soaking up stories and wisdom.From there, we get into the nuts and bolts: how Alison thinks about the difference between R&B feel vs. country feel, note length, subdivisions, and the “rules” you learn in Nashville, plus when to break them. She's also launching a brand-new Merle Haggard tribute band called We Are the Merle.We also talk about her time touring with Peter Frampton, how that gig came together, what it's like playing major stages (including the Rock & Roll Hall of Fame experience), and the weight and gratitude of watching a legend keep doing the work.And because Alison is also a fellow podcaster, we dig into her show “Hey, Good For You”, a funny, honest, and sharp look at life as a working bassist (and the absurd things people say to women musicians).It's part career map, part hang, part deep musicianship chat, and by the end, we basically agree this needs to be part one.Music from the Episode:Nadine (Is It You) (George Benson)Turning Waylon Down (Alison Prestwood)Austin (Blake Shelton)Beautiful Man (Alison Prestwood & Rodney Crowell)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Download the free guide “5 Spells Every Composer Needs.” Spells are interval-based composition techniques that work like magic. In this guide, I explain 5 of my most-used spells with examples so that you can implement them in your compositions as well. https://musicintervaltheory.academy/spells/ In this episode of The Music Interval Theory Podcast, Frank shares why he refuses to join the “music theory police” and how the internet often turns helpful knowledge into gatekeeping. He explores the value of curiosity in learning, why asking questions should be safe, and how theory is best used as a creative tool—not a strict rulebook. If you're tired of rigid opinions and just want to make great music, this one's for you.

Join our Thinking Out Loud w/ Friends of SoundBroker Zoomcast show hosted by Jan Landy and his knowledgeable affable panel of friends and colleagues for an entertaining robust discussion offering opinions on anything related to a working professional life in general.Our ZoomCast isn't just a fountain of knowledge; it's also a opportunity to laugh. Think of it as therapy, but with more jokes and fewer couches. Join us and share your thoughts. Stay updated on life and world events, and enjoy multiple good chuckles along the way.

“Be curious, not judgmental.” In this episode, Nick speaks with Patrick Boylan about the importance of curiosity in understanding others and navigating judgment. They discuss how asking questions can lead to empathy and a broader perspective, allowing for a more nuanced view of people’s beliefs and actions, all while highlighting the balance between judgment and understanding, advocating for a thoughtful approach to interpersonal relationships. What to listen for: Curiosity leads to empathy and understanding How we learn and understand is different from each other People's beliefs aren't inherently wrong; they're different. Asking questions helps us bridge the gap between our understanding and their beliefs. Life can be painful and confusing; let's not add to the chaos “At the end of the day, it’s curiosity. Why do you think that? That’s the biggest question that anybody can ask.” Being open to external information only allows us to consider it When we're curious, we're seeking to understand Intention is a major part of curiosity to better understand others and our surroundings “We need to come together as a species and tackle our world’s issues together.” We aren't meant to do life alone. Community is a huge part of this journey we're on There's hope in this that we, as a race, can come together for a common goal, our overall health and survival Community is more important than we realize About Patrick Boylan Patrick Boylan is a skilled multi-instrumentalist and co-founder of MuseFlow, a groundbreaking music EdTech platform often called “The Duolingo of Music Education.” Frustrated by the limitations of traditional music education, Patrick began exploring self-directed practice, which reignited his passion for music and led him to focus on sight reading as an engaging learning tool. MuseFlow teaches bite-sized skills through sight reading, allowing students to master new concepts efficiently and enjoyably by focusing on reading and playing music at first sight, then applying those skills to songs that get unlocked. Patrick loves to share his insights on learning and EdTech, inspiring parents, teachers, and self-learners to help students and themselves achieve flow state through MuseFlow's unique approach. https://museflow.ai – Use promo code **”MINDSET50″** to get 50% off any subscription you’d like, FOR LIFE! https://www.linkedin.com/in/patrick-boylan-6b133248/ https://www.instagram.com/museflow.ai/ Resources: Check out other episodes about curiosity The Magical Journey of Discipline and Curiosity With Wayne Faulkner Trauma, Curiosity, Core Beliefs And Conscious Recovery With TJ Woodward Interested in starting your own podcast or need help with one you already have? Send Nick an email or schedule a time to discuss your podcast today! nick@themindsetandselfmasteryshow.com Thank you for listening! Please subscribe on iTunes and give us a 5-Star review! https://podcasts.apple.com/us/podcast/the-mindset-and-self-mastery-show/id1604262089 Watch Clips and highlights: https://www.youtube.com/channel/UCk1tCM7KTe3hrq_-UAa6GHA Guest Inquiries right here: podcasts@themindsetandselfmasteryshow.com Your Friends at “The Mindset & Self-Mastery Show” Click Here To View The Episode Transcript 00:00The one thing in my opinion that would turn the tides of humanity and make people more empathetic and connected to every person on this earth, that we need to come together as a species and tackle our world’s issues together. 00:23Hello and welcome to the Mindset and Self-Mastery Show. I’m your host, Nick McGowan. Today on the show we have Patrick Boylan. Patrick, how you doing, man? Doing great. How you doing, man? I’m good. I’m excited you’re here. I think I say that a lot in the intros of shows because I’m having conversation with somebody and there are certain times where like lead time to get onto the show can be maybe a month, maybe two months. Then there are people like you, my friend, who… 00:48I joked earlier and was like, well, when you first sent your stuff in in 2009. Yeah, but it’s kind of what it felt like though, honestly. But some of those are the best. And truthfully, I’ve had two of you this week. I had one guy a couple of days ago who does drum circles and so much music. And he just disappeared at one point like two years ago and then came back. And I was like, yes, I was hoping you’d come back. So I’m glad that you’re here too. I want us to be able to touch on music, obviously, because of the business that you have and the thing that you’re doing. 01:18but I want us to be able to get into really how all of it has worked for you over the course of life and how it’s all shaped you to lead you to where you’re at today. Before we get there though, why don’t you get us started? Tell us what you do for a living and what’s one thing most people don’t know about you that’s maybe a little odd or bizarre? I’m the co-founder of a music education app called Museflow. We teach piano in a very different way. We’re expanding to all common instruments in the next couple of years. So it’s growing, people are loving it. 01:47and I’m super stoked about it. Something that’s weird or that most people don’t know about me, I have two tattoos. I’ve got one on my butt, on my left butt cheek, it’s called, it’s just a family emblem that my dad drew on all of our napkins for lunches and uh Christmas cards and stuff like that. It’s four bunnies on two hills overlooking a sunset, and it’s our family. It’s me and my dad and my mom and my sister. 02:14and our cats and our dogs and all that stuff. It’s a really cute little tableau thing, right? The other one is on my upper hip and I got it in college. I got it when I just decided that truth and honesty are going to be the most important things in my life, okay? And so I got a whistleblower. I got a guy blowing a whistle. Didn’t realize how phallic that was when I got it on my upper thigh, you know? 02:43So it’s a little weird, but like I didn’t recognize that at the moment. What I was going for was like truth and honesty, right? And then I just, got it. And then I started doing, just being blunt, being like kind of mean about it. And like, wasn’t thinking about tact and I wasn’t thinking about like what my friends would be hurt by or if they, I didn’t care. I was just like, truth and honesty. This is just so important to my life. And like, I was being brutal about it. 03:12And so one of my friends pulls me aside one day and he says, Pat, you got to stop this. You’re just being a jerk. You’re being an asshole about this. Like, yes, truth and honesty is important. Okay. But you got to blend it with everything else. All right. Sometimes tact and holding your tongue is the right call. Cause I got to tell you, you’re ruining friendships right now. I know a couple of people that have talked about this already and they’re saying you’re just being an asshole and they don’t want to be friends with you anymore. So you got to fix yourself or 03:42you’re going to start losing friends. And I really trusted his opinion. He was one of my best friends. And so I listened to him and I pulled it back a bit. I pulled it back. I find it really interesting how your friend will lovingly say a thing to you, but also that you trust your friend. You know, like they’re the people that, um, they feel like they trust somebody out of, uh, I guess, systemic approach. Well, my family system tells me I should trust my parents. 04:09or I should trust my brother and sister, or I should take whatever they say, kind of as gospel in a sense. People obviously like shit upon people with their dreams or whatever else, but it’s sometimes in those small things where it’s like, that person is upset that you’re being an asshole about a thing, but for you to be aware of you were being an asshole about it. Like if you didn’t feel you were, you probably wouldn’t have accepted it. You’d have been like, what do you mean? No, I’m just being a little bit of a boast or a little bit of this, but there was a hint of you back there was probably like, 04:38The power feels good. You know, you’re like, yes, this is wonderful. Two things there, right? Number one, this is a historical relationship. This guy has been one of my good friends for, you know, years. And I’ve been working with him in very close contact throughout many different creative projects. He was a, he’s a director and I’m an actor. And so we worked on like seven or eight shows up until that point. And so I’ve worked with him. 05:07deeply and very closely and I really appreciate his judgment and his kind of pulse on people. Yeah, you know and so both of those things like I trust the guy with my life and I’ll I’ll I’ll do whatever he wants when it comes to a show I know he has my best interest at heart and and that’s the biggest thing, you know number two I’ve always tried my best to take criticism with as much humility as possible and 05:37regardless of if it’s accurate or wrong or true to myself or untrue, it doesn’t matter. That’s still your opinion. And your opinion weighed against mine. It just depends on our relationship, but it also depends on how much I trust you and all of that stuff. But like, I will take any and all criticism and I will implement it or not implement it based on the weight that I give it. And if I believe, and I do weigh it against myself, but that being said, it’s one of those things that I… 06:06pride myself on. I pride myself on my ability to say, well, what do you think to everybody and anybody? And I don’t, doesn’t mean that I have to take it. That’s critical though. You’re two different entities, you know, and even within yourself to be able to say, well, I’m going to take that and you will accept that level of information because of the context. Like context is so important in everything. Everything. But also you can still get things from people like, uh, even if somebody 06:36walking down the street, they was like, Hey, stop being an asshole. You’re like, well, maybe I can take something from that. Am I being an asshole right now or am I not being an asshole right now? And you get to do something with it. There are, think a lot of times where we as people, and this is where the mindset and self mastery stuff comes into play, where we will take things like, Oh, who’s this random fucking person across the street yelling at me? Why are they yelling at me? And this reminds me of when I was a little kid getting yelled at and these things and that. 07:05If you take the approach of I wanna take on information and have it my little bucket and go, I don’t want this, I don’t want that, this is kinda cool. And like, okay, you get to do something with it. That’s a level of self-awareness that comes from being healthier, maybe just in that sect of your being. Because you’re like, this is what I’ve dedicated myself to. We also have gotten a little farther away from you have principles in place of trust and truth and. 07:33honesty and these things that are critical to your being where honestly man kind of makes sense where you’re like I’m putting my foot so far in the fucking ground it’s anchored in there and I think sometimes people will go through that almost like the people how they become evangelical about things like it can be easy to think about uh people getting a multi-level marketing company say drink the kool-aid and go ham somebody who just got into religion god forbid you talk to somebody who was vegan and or in CrossFit 08:02And all of that, you know what I mean? And it’s like, whoa, it’s like a stage that you can go through where you’re testing it out. You’re trying it out. There is still a little bit of that. I’m sure the power felt great because you’re like, man, I’ve been wanting to say these things for a few years and one more motherfucking thing. Yeah, it was free. It was a sense of freedom for sure. Like I don’t have to I don’t have to abide by any cultural norms of tact. You know, like it felt really great. But. 08:29Yeah, but then I just realized like, no, sorry, I was just being an asshole about it. was taking it to the nth degree and everything needs to be in balance with other things. You can say truth and honesty are your biggest tenants of life and you can strive for the absolute excellence of that, 100%. But you also have to keep all of these other things aligned as well while you’re doing that. Anything farther on the far ends of any sort of spectrum, whether that’s… 08:57on the left side or the far, know, whatever it may be, everything is a spectrum. And if you take it way too far and out of context in isolation, it can become toxic. It really can. One of the things I try to do on the show is have these conversations where we break up these big, big pieces, turn them much larger. Like we just explode them, but then also pull them back to smaller pieces without being like, here’s two or three things for you to take away for the week and just chill out these. 09:24But in all reality, there are certain pieces of that that even in the balance can be really difficult if there are other things that are off balance. If you are triggered by certain things that happened, you can then sometimes get stuck in those triggers. I joke with people on the show pretty fucking often at this point. The more self-aware you become, the more fucking self-aware you become. And the more crazy making it can be while you go through the healing of that stuff because you can’t not see those things. 09:53And think about what you deal with as an entrepreneur, as a business owner, somebody managing other people, managing yourself. You said you’re married. I don’t know if you have any children, but there’s like all these things. And sometimes people can say, but you don’t understand because boom, boom, boom, boom, boom. They make this major list. Other people will use that and say, yes, it’s because of these things that I have to do these other things. And therefore others will still go, 10:23but I then get to and it’s all our perspective with doing it. So your perspective came from something that happened years and years and years ago. That’s why you put your foot so far into the ground and almost into people’s asses about just truth and honesty. But when we sit back and think about that a little bit, let’s break that down. Like what, what is it about what you’ve gone through and what you’ve seen? Like, why do you actually care what other people think to be able to then put it your own context? It’s curiosity. 10:53For me, at the end of the day, it’s curiosity. Why do you think that? That’s the biggest question that anybody can ask. Cool, you believe that about me? Great, what about me makes you believe that? And it’s just curiosity over, and you say that you’re judgmental, like don’t get me wrong, I’m judgmental too. But a lot of my judgment comes from this place of like, well, okay, why would they believe something like that? 11:23And then it allows me to still empathize with them while still being judgmental and being like, well, you can still be wrong regardless of your history, you know, or you could be cruel or not thinking about something else when you probably should be thinking about something else. And you’re like in the weeds of something here. And you’re really thinking about the reason why the thing should be this is because of all of these other things. But then see, you forgot perspective, see the forest through the trees. And so if I can understand from where you’re where you’re coming from. 11:53If I get it, if I can get into that, be curious, not judgmental, right? That is something I always try to remind myself. And it is a motto that I like to live by, be curious, not judgmental. I try my best, granted judgment still comes, you know? Well, it’s also a fine line and judgment can have a negative connotation to it, where even judging something, you’re just judging it based on what you know, the information you have, et cetera. It’s what you then do with it. 12:21you know, if we can get real shitty with it. I know there are times where I get shitty, like it’s easy for me to talk about people driving on the road, because there are certain times you’re like, I don’t even know if you have a license. I don’t know. Are you driving from the passenger seat? Like what the fuck are you doing? But part of me is judging of like, is it safe for me to get past your dumb ass? Is it safe for me to do whatever? And I think there are things that happen within us that are almost mechanical that we’re unaware of. 12:50Even breathing. Like everybody knows that you’re breathing and then when you actually concentrate on your breathing, you’re like, oh, I’m concentrating on it. We don’t have to think about that. There are other things that happen that we don’t think about because subconscious is there just to keep us fucking safe. And something happened back in the day or back when we were a little kid or something like that. So for you growing up, were there experiences that you had where you were like, man, this is one of those experiences that like rocked my world and changed me. Like that was one of them where your friend was like, 13:19You’re being an asshole, other people are gonna leave you and stop. Somebody could have taken that, been like, yeah, my buddy Jimmy told me not to be a dick anymore and then everything was cool. And you took that as a critical moment where you’re like, oh, I should do something with it. Were there any others that really stand out? I think my dad was really, really great at teaching us these kind of like critical thinking skills kind of thing, or just understanding context or being creative. 13:47But there’s two in particular that I’d love to share. And I’m curious what you think about them. Because I think you’d love them. Number one, um when we were like maybe, God, I was like maybe eight or something like that, eight or nine, I was bored. It was like summer break or something, and I was bored. And I was like, Dad, I’m bored. What can I do? uh And he’s like, oh, OK, great. One second. Hold on. Give me a second. And he leaves. And then he comes back with a mop and a bucket. 14:16And he says, do you know what would be really, really fun? If you mopped the kitchen floor. You know it’s something to do, it’s effective. is, you know, what do you think? Like, do you want to mop the floor? That’s what I got for you. If you want to do that, go for it, please. Otherwise, find something to do. And I was like, that’s actually, that’s great. know, like, touche. You want me to mop the floor? I’m not gonna mop the floor. 14:41But I will find a way to entertain myself. And ever since then, I don’t think I’ve ever been bored. I’ve always been able to entertain myself. And the other kind of critical, that was such a great thing that he did when we were younger, we did this kind of series of dinners where we did caveman dinners, which were, just made a 15:11big, big thing of pasta, okay? Pasta and some meat sauce or something like that. And he had a big old butcher block table that we always ate dinner around. So he put a big old tarp, plastic tarp down on the table and onto the floor, kind of drooping down onto the floor. And he got us into our underwear, me and my sister, and we were very young, and he just slopped this big old pot of pasta on the butcher block table in the tarp and he said, 15:41Go to town. You’re gonna eat with your hands. You’re gonna get dirty and it’s gonna be a lot of fun. We’re calling this caveman dinner, okay? Go wild. And we had a great time. Now the next night, he put us in our fanciest clothes and we sat down for a nine course meal. And he gave us all of the directions on all the silverware, right? And all the different plates and how we do it. And we had to sit there and be proper. 16:09and have our napkins in our lap and our combed hair and use the silverware properly, right? And so I think it’s one of those things of like balance and context, balance and context, right? You can have the caveman dinner, great, but understand the context of when you need to actually sit straight and have a towel on your lap and eat with the proper silverware. Like you gotta know both those contexts and everything in between to live a happy and healthy life in our society, in my opinion. And so, 16:38That was one of those things that he was really good at, giving us context and freedom and play, through play and freedom. While still also controlling the situation. Yes, In a beautiful way. Yeah. And educating. Think about what you do now. You have a music education company where you’re teaching people how to play music in a fun way. I wonder who in your life would have led you to do any of that. 17:07It’s true. 100 % my father. Yeah. And well, think about like, even as you talk about, you know, I’m bored. I remember saying to my dad, dad, I’m bored. He was like, get the fuck outside, go do something. Go do this, go do that. And he would make up all these things that were really exciting to him. And I am not the mechanical engineer type or the one who wants to go out and lift heavy things and like remove shit from people’s backyards or whatever. 17:35I wanted to go play music or create art or something like that. And there was a disconnect there. There were times where my mom or my stepmom or even my dad at times would go, well, why don’t you go draw or something? I’d be like, yeah, cool, why not? I could have thought of that, but whatever. Like, they gave me a good idea. I’d go do it as a little kid. Or like finger pain or something. But being able to understand context, understanding how people best learn, understanding about those people does come from curiosity, I appreciate that you look at it and go, well, why do you think that way? 18:05Or why do you look at it that way? I think there’s also much deeper levels that we can get to with that. Like you’re not just curious. I’m assuming this, but I’m also, think we’re of the same elk. Where it’s not just basic curiosity to be curious. There’s a reason. Like we want to understand, like, why do you think like that? How did you get there? Who led this thing to you? How does that make sense in my head? Why does that not make sense in my head? Like what is, the fuck did we do with this information? 18:33It’s not just the curiosity of it. I mean, it’s really just like, it’s curiosity. I think it’s just, one of those people that is just a student of humanity. I’ve always been curious about human behavior and the motivations behind it. And it’s because I grew up as an actor. was what the thing that I did after college for seven years and… 18:56and now I’ve pivoted into a career that I really, really love, the co-founder of this music education app that’s basically built on the way that I’ve taught myself how to play piano. And now I’m a professional pianist and I’m doing the app during the day. And you’re like, oh, what a weird life. But I still think that my curiosity comes from being a student of humanity because I was an actor. And you have to get really deep into people’s motivations. 19:24when you are trying to replicate them in a realistic way. And it’s for outside in and inside out. It’s what are the institutions around them that make them feel and think that way? And do those themes tie into whatever piece that you’re performing in? But it’s also inside out. It is what about their childhood? What about their life? What about their perspective that has really made them behave this way? And so it’s always just been a fascination of mine. Why do people act the way that they act? 19:53I love that your level of curiosity is at, let’s say a 10 and other people may just be slightly curious. But even if we all just take that a little bit and say, well, how can I be a little bit more curious, little less judgmental, but understand why I’m curious about this thing. Somebody says anything and I go, well, what is it? It’s not just the curiosity or even the answer back. It’s, oh, I really want to know because of whatever it is for each person. So for those people that are 20:21on their path towards self mastery and along with curiosity, just everything else you’ve been through, what’s your advice for those people? The one thing in my opinion that would turn the tides of humanity and make people more empathetic and connected to every person on this earth, because we’re going to kill ourselves otherwise, that we need to come together as a species and tackle our world’s issues together. Climate change, economic justice, like so many things are global these days. 20:51And it’s because there are almost 10 billion people on this earth. are so just, and we are a part of the earth. We need to shepherd it to the correct place and we need to be in service of the earth to really let our species just grow and evolve the way it probably should, you know? So with that comes a deep amount of empathy that we need to have for every human on this earth, regardless of culture, race, religion. It is one of those things I need to feel connected. 21:21to somebody that lives on literally the other side of the earth. And how are we going to do that? It’s through curiosity. What makes you you? Describe it to me, show me. Show me your world. I’m so curious. so, be curious, not judgmental. Granted, judgment does inevitably come. I look, I judge people all fucking day. But it’s also one of those things of like, well, if I really want to know and care, 21:51Get to the heart of who they are and their behavior and you’ll allow connection to just flourish. And for people that are naturally sort of judgmental or really hyper curious, I think the judgment comes from the bias or a situation that happened to us or just a deep, I don’t understand why you’re doing such a thing. Like I’ve joked to people before, I’ve said, I don’t understand why they’re doing it. I believe myself to be an intellectual and I thought a different way. So why the fuck are you doing it that way? 22:20And some of it just has a little bit more air of a judgment to it, where it’s like a deeper curiosity. It’s a spectrum, as you put it. Everything’s a spectrum. Understanding ourselves and what we’re looking at, what we want, what we’re trying to do, and the reasons why we do those things, it’s also part of the balance, and we have to take it bit by bit. So man, I appreciate you being on today. It’s been great talking with you. I’m sure this is not the last time we’re gonna talk. 22:48ah And before I let you go, where can people find you and where can they connect with you? Yeah, just go to my website musflow.ai. If you want to learn how to play piano in a different way, maybe traditional lessons didn’t work for you. We teach with sight reading first. It’s the act of reading music at first sight. We teach the fundamentals through that, through that skill, through that lens, let you master it without any repetition. 23:14It’s always new music that is being generated for you at a very specific level and then you beat that level and then songs get unlocked after that. So we’re incorporating technology in and flow state and sight reading and gamification. We’re really bringing it all together into this one new methodology of teaching an instrument and eh it’s fundamentally different and it engages you in a much more holistic sort of way. So if you’re interested in that go to museflow.ai 23:41Shoot me an email, info at museflow.ai and don’t put that in the show notes, just like, know, it’s for the people who are listening. Yeah, like we would love to hear what you think. I’d love to give your audience a coupon code if they want it. Let’s call it mindset, mindset 50. Anybody who uses it 50 % off for life. Look, we’re still growing. We’re still adding new features as we go. We’re not finished at all. We’re still expanding. 24:09our accessibility. We’ve got iPad, we’ve got Android tablet, but we’re building it out for phones and any desktop app. so we’re slowly but surely growing this. We’re adding new instruments, uh adding new parts of the app. And if you want to get in that kind of on the ground floor, we just hit a really great marker. are now being able, we can pair overhead with subscriptions. And so the engine is going and it’s rolling and people aren’t churning. It’s like, 24:38It’s actually doing it and we’re getting incredible feedback from our users. so that being said, we’re still very new. So I’d love to give your audience 50 % off for life if they want it. So it’s mindset 50. It’s great for anybody who is also just, if you’re really, really good, but maybe your sight reading is terrible. There’s a lot of professional pianists that are very good at just like the songs that they know. They have 700 songs and they’re really good at them. A lot of classical musicians are out there that do that, but they’re not. 25:07good at sight reading. And so they use our app to get better at sight reading. So yeah, it’s good for everybody. It’s good for young people. It’s good for old people. It’s good for new people. It’s good for people that have been doing this for years. Awesome, man. I appreciate that. And I appreciate you being on. Thank you so much for your time today. Vice versa. Thank you,

Send a textIn this electrifying episode of Living the Dream with Curveball, we chat with Steve Sxaks, a punk rocker turned audio engineer, award-winning educator, and published author. Steve shares his incredible journey from the Philadelphia punk rock scene to founding Marston House Recording, a studio that has become a cornerstone for artists across genres. With over 16 years of experience producing music, Steve reveals the unique connection he found between punk rock and hip hop, and how this fusion has influenced his work. He discusses the importance of artist trust, the creative process behind the Marston House Ciphers, and the valuable lessons he learned from his time in the military that shaped his approach to music education and leadership. Steve also dives into his new book, *Invasion of the Punk Rockers Who Drink Blood*, offering insights into its relatable themes and the lived experiences that inspired it. Tune in for an inspiring conversation that celebrates creativity, authenticity, and the power of community in the music industry. Don't miss out on Steve's upcoming projects and collaborations that are sure to make waves in the underground scene!mosaic: Exploring Jewish Issuesmosaic is Jewish Federation of Palm Beach County's news magazine show, exploring Jewish...Listen on: Apple Podcasts SpotifySupport the show

Send us a text and chime in!Professor and Faculty Program Director for Performing Arts at Yavapai College Christopher Tenney has a long track record with musical training and the performing arts. He performed and toured nationally and internationally with The Tucson Boy's Chorus starting at the early age of eight. He later pursued and received Highest Honors in his graduate studies, graduating with a master's degree, also in Music Education, from Boston University, where he is currently in his final semester of earning his Doctor of Musical Arts in Music Education. Tenney started teaching at Yavapai College in 2016, but he'd visited previously and the place... For the written story, read here >> https://www.signalsaz.com/articles/yc-professor-brings-lifelong-passion-for-music-to-campus/Check out the CAST11.com Website at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

On his episode of That Tech Pod, Kevin and Laura sit down with Ray Biederman, CEO and Co-Founder of Proteus Discovery Group, to talk about what actually happens when legal theory, technology, and human behavior collide. Ray walks through his unusual path from music education to law to legal tech, and how that background shaped the way he thinks about systems, judgment, and risk. Rather than chasing hype, he explains why Proteus focuses on defensible outcomes and practical decision-making in a crowded eDiscovery market.The conversation gets into lessons Ray has learned by wearing every hat, product builder, services leader, and still-practicing attorney. He shares what courtroom experience teaches that product teams often miss until something breaks, especially around context, intent, and how small mistakes compound once data starts moving. Ray also offers a measured take on AI-driven review, warning against the industry's tendency to overcorrect by trying to remove human judgment entirely, and highlights the ethical tensions that surface when AI reveals patterns no one anticipated. The episode closes with a forward-looking discussion on deepfake evidence, verification challenges, and the growing risk posed by data traveling across too many systems without enough accountability. Ray Biederman, Chief Executive Officer and Co-Founder of Proteus Discovery Group, LLC, has worked in every phase of electronic discovery for more than two decades. He is a Super Lawyer in the area of eDiscovery, has been cited in multiple court opinions as an expert witness, and is adjunct faculty for eDiscovery at the IUPUI School of Informatics and Computing. He consults on Information Governance policies and procedures related to cybersecurity and its intersection with government regulation and industry-specific best practices. Outside of his eDiscovery experience, Ray is an active litigator representing clients in product liability work, business valuation disputes, and contract disputes. He is also a founding partner in Mattingly Burke Cohen & Biederman. He was previously an associate at Barnes & Thornburg, LLP. He holds a B.M. in Music Education from Butler University and a J.D from Indiana University, the Robert H. McKinney School of Law.

While the Whale Rock Music Festival is renowned for rocking the Central Coast every year with live music and family-friendly activities. The event has an even greater purpose: supporting Templeton High School musicians through the parent-volunteer organization, TIMBA.  Resources:  *** Tell Your Sustainable Story Online Course ***  Apply for SIP Certified Wine Marketing Tips eNewsletter Supporting Arts & Community | Castoro Cellars Sustainable Story Worksheet   Print   Electronic   Vineyard Team Programs:  Juan Nevarez Memorial Scholarship - Donate  Online Courses – DPR & CCA Hours  SIP Certified – Show your care for the people and planet    Sustainable Ag Expo – The premiere winegrowing event of the year  Vineyard Team – Become a Member  

In this episode, I sit down with percussionist Colin Currie for a wide-ranging conversation about curiosity, originality, live performance, and the lifelong pursuit of musical meaning. Colin is one of the most influential percussionists of our time, known for his deep commitment to contemporary music, his close collaboration with composers, and his transformative interpretations of Steve Reich's work. This conversation explores how curiosity, patience, and listening have shaped his career and his approach to music-making.We begin by talking about technology, access to recordings, and the changing landscape of music education. Colin reflects on growing up in a time when discovering music required effort, intention, and physical presence in libraries and record shops. He shares concerns about students learning pieces by copying online performances rather than developing their own ideas, and he speaks passionately about the importance of solitude, curiosity, and learning music on one's own terms.Colin traces his musical beginnings back to early childhood, from piano lessons at age five to his first drum lesson at six, describing the joy, excitement, and physical energy that initially drew him to percussion. He talks about how that sense of wonder has never left him and why live performance remains a magical, irreplaceable experience. We explore why percussion continues to evolve so rapidly, how technique has advanced across the field, and why musical intent always matters more than virtuosity alone.A significant portion of the conversation focuses on Colin's connection to contemporary music and the composers who shaped his artistic identity. He describes hearing The Rite of Spring as a teenager, discovering post-war modernist composers through library scores, and developing an instinctive attraction to music that felt strange, challenging, and unfamiliar. Colin shares how his love for new music was never about understanding it intellectually, but about responding to it emotionally and instinctively.We also dive deeply into Colin's relationship with Steve Reich, including their first meeting, their long-standing collaboration, and the formation of the Colin Currie Group. Colin reflects on recording Music for 18 Musicians at Abbey Road Studios, explaining how the goal was to capture the intensity and emotional risk of live performance rather than create a polished studio artifact. He talks about groove, sonority, emotional depth, and why Reich's music demands both precision and expressive freedom.Colin discusses his growing role as a conductor and how stepping onto the podium has changed the way he listens, leads, and collaborates with ensembles. He shares stories from recent performances, lessons learned from orchestral musicians, and how listening remains the central skill, whether playing or conducting. We also talk about his record label, Colin Currie Records, crowdfunding new projects, and the upcoming release of a Steve Reich album featuring Sextet, Double Sextet, Six Marimbas, and Dance Patterns.As we look ahead, Colin reflects on 2026 as a landmark year, including Steve Reich's 90th birthday, dozens of performances of Reich's music worldwide, and the premiere of Colin's 40th percussion concerto. This is a thoughtful, inspiring conversation about curiosity, commitment, and the lifelong responsibility of serving music.Music from the Episode:Mallet Quartet (Steve Reich - Colin Currie Group)Music for 18 Musicians - Section VI (Steve Reich - Colin Currie Group)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Embraceable You, Jazz Harmony, Music Education, Jazz Techniques, Improvisation, Music Analysis, Jazz Standards, Piano Skills, Music PracticeSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence introduces a new tune study focusing on the jazz standard 'Embraceable You' by George Gershwin. The discussion covers the importance of intentional study, the seven facts of music, and a deep dive into harmonic and melodic analysis. Dr. Lawrence emphasizes the significance of movement in jazz harmony and provides practical techniques for voicings and improvisation. The episode concludes with a call to action for listeners to engage with the material and continue their jazz piano journey.TakeawaysA new month signals a new tune study.The study system allows for a huge return on investment.Real practice involves exploring essential jazz skills.Jazz harmony is defined by the movement of notes.Listening to various artists is crucial for learning.Understanding harmonic function enhances musicality.Common progressions are foundational in jazz standards.Voicings can be simplified for clarity and movement.Two-handed voicings are essential for ensemble playing.Engagement with the material leads to meaningful growth.TitlesUnlocking Jazz Piano Skills: Embraceable YouThe Art of Jazz Harmony: Movement Over NotesSound bites"Incorrect thinking leads nowhere.""Movement gives us music.""Listening is so important."Support the show

Rob Schwimmer is a dynamic composer-pianist and renowned theremin virtuoso whose performances have captivated audiences worldwide. With accolades from The New York Times for his blend of “virtuosity, magic, and humor,” Rob's diverse talents shine through in his solo CD "Heart of Hearing," which features the theremin, Haken Continuum, and solo piano. He has collaborated with an impressive lineup of artists, including Bobby McFerrin, the New York Philharmonic, and Simon and Garfunkel, showcasing his unique ability to hang in multiple genres.In this episode, Rob shares his insights into the theremin's unique sound and its long-standing connection to sci-fi and other film genres. He recounts memorable performances—including a recent debut with the New York Philharmonic—and discusses the intricate relationship between improvisation and formal music training. Rob also demos some of the nuances of the Haken Continuum and the theremin. He shares several engaging stories about working in a variety of  musical settings, from Carnegie Hall to hanging out with Willie Nelson.(Headshot photo by Michael Weintrob)Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

“There were a whole bunch of these women who were publishing music during their liftetime in 17th-century Italy. I find it's important that young women know that they were composers other than Hildegard and Fanny Hensel who were writing. These women's voices were buried for so many years, and yet they were writing in the same styles as their male contemporaries. We can learn about our times now by looking to the past and to think critically about who we're lifting up and whose voices we are amplifying now based on how things have progressed over history.”Dr. Meredith Bowen is an Assistant Professor of Choral Music at Michigan State University where she teaches graduate choral literature, conducting at both the undergraduate and graduate levels, and conducts the auditioned treble ensemble, Mosaic. Bowen works to expand the choral canon and amplify marginalized voices by editing, restoring, and publishing editions of historical music by women. She is an active guest conductor, presenter, and clinician and is founding singer and Artistic Administrator for mirabai, a professional women's ensemble dedicated to amplifying women's voices through commissioning, performing, and recording. Her editions of music by 17th-century composers are published by Boosey & Hawkes and MusicSpoke. Prior to joining MSU, Bowen was the Director of Choral Studies at Radford University in Radford, VA, taught public school in Lansing, MI, and led a variety of community choirs throughout MI. She earned her B.S. in Music Education from West Chester University, and both an M.M., and a D.M.A. in Choral Conducting from Michigan State University. To get in touch with Meredith, you can email her at bowenmer@msu.edu or find her on Facebook (@mybowen), Instagram (@emwhybee), or TikTok (@m.y.bowen).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

How can music help us get in tune with ourselves, our stories, and our communities? What is cathartic and healing about certain sounds? What can the musical traditions of indigenous cultures teach us? My guest on this episode, Kenny Kirkwood, discusses these questions with me and more. Kenny Kirkwood is a musician, educator, and folktivist. A Juno award-winning Canadian musician, he has toured internationally. Kenny spent his childhood in Zambia. This experience influenced his songwriting, his craft, and immersed him in the communal and spiritual aspects of music. We talk about:Why certain songs are cathartic to usThe lost art of music as an oral traditionHow music can help us tell our storiesTips for learning how to play a musical instrument as an adult What we can learn from the indigenous cultures in our areaWhy humming can help us learn rhythm, increase awareness, and keep us in the present momentHow trauma from early musical education as a youth can impact us as adult learnersFind out more about Kenny and his music at kennykirkwood.com

Podcast PacketsIllustrationsLead SheetsKeywordsJazz Piano, Solo Piano Techniques, Music Education, Jazz Standards, Improvisation, Harmonic Analysis, Melodic Analysis, Jazz Skills, Piano Practice, Music TheoryTakeawaysSolo piano requires a commitment to mastering essential skills.The study of jazz piano is organized into four key areas.Time, harmony, and melody are the three non-negotiables in solo piano.Strum, stride, and slide are foundational techniques for solo piano.Listening to recordings is crucial for developing musical skills.Clear and intentional voicings are more important than complex ones.Melody should be treated with expression to convey jazz effectively.Practice should focus on small phrases rather than entire songs.The left hand's role is to support time and harmony, not fill space.Progress in jazz piano comes from consistent practice and application.SummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence explores the essential techniques for mastering solo piano, focusing on the three non-negotiables: time, harmony, and melody. The discussion includes practical applications of strum, stride, and slide techniques using the jazz standard 'Stars Fell on Alabama.' Listeners are encouraged to practice small phrases and emphasize listening to recordings to enhance their skills. The episode concludes with a reminder of the importance of consistent practice and the joy of discovering jazz piano.TitlesMastering Solo Piano TechniquesThe Essentials of Jazz Piano SkillsSound bites"Melody should be treated with expression.""The left hand supports time and harmony.""Progress comes from consistent practice."Support the show

Katie Robinette:Katie is an entertainment professional, vocalist, and entrepreneur from York, PA. She has built a 25-year career spanning live performance, artist development, and music-business leadership. In 2016, Katie co-founded Robin-Banks Entertainment, LLC with Amy Banks in Central Pennsylvania. Robin-Banks Entertainment is a 100% woman-owned company led by Katie as founder and CEO, serving clients throughout the Mid-Atlantic region. In addition to the business and fronting Central City Orchestra as a bandleader and vocalist, she mentors emerging musicians, serves on music industry advisory boards at York College of Pennsylvania and Harrisburg Area Community College.https://www.katierobinette.com/https://www.rbelive.com/Dan Brenner:2025 Educator of Note - Dan is the Director of Modern Music for Spring Grove Area High School with 24 years of dedicated instruction. His accolades include being a quarter-finalist for the Grammy Educator Award and earning recognition as an Outstanding Teacher by Shippensburg University. Dan has a dual bachelor's degrees in Music Education and Music with a focus on jazz and percussion, a master's degrees in Classroom Technology from Wilkes University and in Music Education from Lebanon Valley College. Dan performs live as a solo artist and in many bands; one of which, Dreadnoughts, has recorded 7 albums.You will be able to see Dan receive his Educator of Note Award at the 7th Annual CPMAs on March 4th, 2026 in Lancaster PA. Get your tickets now!https://www.facebook.com/DanBrennerMusic/https://www.sgasd.org/district-news/~board/district-news/post/dan-brenner-recognized-by-central-pa-music-hall-of-famehttps://cpmhof.com/educators-of-noteYou can find out more about the CPMHOF @ https://cpmhof.com/Brought to you by Darker with Daniel @ Studio 3.http://darkerwithdaniel.com/All media requests: thecpmpodcast@gmail.comWant to be on an episode of the CPMP? For all considerations please fill out a form @ https://cpmhof.com/guest-considerationJoin us back here or on your favorite audio streaming platform every other week for more content.

In this episode, I sit down with drummer David Northrup for a deep and wide-ranging conversation about groove, longevity, and serving the song. David has built an incredible career by doing precisely that, whether he's playing traditional country, blues, soul, or roots-based music. We start by talking about his current work with Joe Nichols, why it's such a musical and personal fit, and what it means to work for an artist who values authenticity, consistency, and real country music. David shares stories from the road and explains why being a good human is just as important as being a great drummer.We spend time digging into David's early musical influences growing up in central New York, where constant exposure to Motown, singer-songwriter records, pop radio, and classic albums shaped his musical instincts. David talks about learning by listening, studying album credits, and developing a deep appreciation for feel and style long before social media or online tutorials existed. He reflects on how that environment taught him to truly listen, absorb, and respect the music rather than chase trends.David walks through his path to becoming a professional drummer, from starting in school band programs to a pivotal moment when he saw Chuck Mangione perform while in college. That experience helped him realize music was the path he needed to take seriously. We talk about the importance of mentors, including teachers who challenged him when he wasn't ready and supported him when he was, and how discipline, fundamentals, and humility played a massive role in his development.We dive deep into David's years in Nashville, including his first five years building connections, studio work, and eventually landing his long-running gig with Travis Tritt. David explains how Nashville truly is a five-year town, why patience matters, and how preparation and professionalism keep you working once you get the call. We also talk about his deep admiration for drummers like Carlos Vega, Jeff Porcaro, Steve Jordan, Russ Kunkel, and others, and why groove, taste, and feel will always matter more than flash.A significant highlight of the conversation is David's time touring with Boz Scaggs. He shares what it was like to step into such an iconic musical legacy, learn to play with conviction at very low volumes, and work alongside world-class musicians night after night. We talk about why playing the room matters, how restraint can be more complicated than power, and why those lessons apply to every drummer at every level.We also spend time talking about David's solo record Shapes, including how it came together over many years, the musicians involved, and why recording live, organic performances was central to the album's sound. David explains his philosophy of making music that's groove-focused, accessible, and enjoyable for listeners beyond just musicians. We close by discussing teaching, clinics, the importance of shuffle feel, regional time concepts, and the soft skills that help musicians not just get gigs but keep them. It's an honest, thoughtful conversation packed with wisdom for musicians and music lovers alike.To learn more about David, visit his website. Music from the Episode:All Blues (David Northrup)Smooth (David Northrup)Bayou Chicken (David Northrup)Salty Crackers (David Northrup)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

“I remember when I performed at Carnegie Hall for the first time. It was transformative. I remember taking the stage and just being in complete awe. I looked out, and it was just incredible. When I heard the sound, it was even more incredible. I used to say that my favorite part of my job was standing right at the stage door and watching every choir singer come and take the stage for the first time. They would look out and just be in complete awe. Now that I'm production manager, my new favorite part of my job is when conductors come off the stage and I get to tell them, ‘turn around, go back, they're still clapping for you.'” - Eric Spiegel“Living abroad gave me a whole new perspective and appreciation for my home country. It taught me a lot about other cultures and how to work with different people and have a certain cultural sensitivity and sensibility. I could not recommend it enough. We're trying to grow and enhance the kinds of international opportunities that we provide. It's such a collaborative, educational experience that goes way beyond one or two concerts. We know for many people who travel with us, it might be their first time in Europe. We try to make sure that it's special in every possible way that we can.” - James RedcayA native of Allentown, Pennsylvania, James Redcay joined MidAmerica Productions in April of 2015. A graduate of New York University, Redcay spent years in New York City as an accomplished pianist, composer and teacher, performing and composing for numerous concerts and institutions. During this time Redcay also held the position of Composer-in-Residence at Stevens Institute of Technology in Hoboken, NJ. After graduating from NYU, Redcay moved abroad to Macao, where he taught music at the Conservatory of Macao and created and managed large-scale arts and entertainment programs and daily operations for Sands China Ltd., a subsidiary of Las Vegas Sands. After six fruitful years, Redcay relocated to the United States and now resides in Michigan.Eric Spiegel holds a Master of Music Education degree from the University of Illinois at Urbana-Champaign, as well as a Bachelor of Music degree from the University of Miami Frost School of Music, with experience teaching middle and high school vocal/general music. As a performer, Eric has sung and acted in choirs, jazz groups, a cappella ensembles, and musicals across the United States and around the world. Eric conducted the Brooklyn, NY chapter of HaZamir: The International Jewish High School Choir for seven seasons, including in performances at David Geffen Hall and Jazz at Lincoln Center, and has served as MidAmerica Productions' head of production for concerts at Carnegie Hall since 2023.To get in touch with James & Eric, you can visit midamerica-music.com or find MidAmerica on Facebook (@midamerica.productions) or Instagram (@midamericaproductions)Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Send us a text"Things work for a minute, and then you adapt." How do you maintain a steady business--and a steady income--in an industry that is continuously evolving? How do you successfully chase passion AND stability? How do you stay inspired with a demanding schedule?In this episode, Emmeline sits down with BW Bridger, an accomplished guitar player, composer, audio engineer, video engineer, producer, band leader, teacher, and rehearsal space manager in the DFW area. A jack of all trades--and a true creative chameleon--BW has built a career on adaptability and sustainability, finding creative ways to solve the problems he encounters in the creative industries. He talks about the entrepreneurial spirit that has led him to pivot his business multiple times, about learning how to do things oneself as a creative, and about how everything you learn as a creative will have a future application--even if you don't see it yet! He and Emmeline also unpack the insecurity that plagues most artists. Lastly, BW gives us a sneak peek at his brand new track, "Underwater Timeout."To learn more about BW Bridger, or to follow his musical and entrepreneurial journey, follow him on Instagram or check out his rehearsal space, Jam Station DFW. You can also stream "Underwater Timeout" on all of your favorite streaming platforms!For behind-the-scenes information and more about Journey of an Artist, visit the Journey of Series official webpage, or follow Emmeline on social media at @EmmelineMusic.

In this episode, I sit down with Dame Evelyn Glennie to talk about what listening really means and why it matters far beyond music. We start with the origins of the Evelyn Glennie Foundation and how her work evolved organically from teaching, performing, and asking people better questions so they can hear themselves more clearly. Evelyn shares how her own experiences shaped a broader philosophy of listening that encompasses sound, the written word, and the ways we communicate through email, texts, and social media. We also dig into how technology has changed our patience and attention, and why listening belongs at the center of education, wellbeing, empathy, and community.From there, we move into the performer's mindset and Evelyn's lifelong curiosity about sound. She explains why she starts new repertoire from the inside out, how the body becomes an essential listening partner over time, and why recordings are only frozen snapshots rather than definitive answers. I ask her about formative training, the balance of learning by ear and reading music, and how her early environments built a deep listening culture that still guides her today. Evelyn offers a powerful reminder that every performance is a world premiere for someone, and that familiar instruments can become brand new when we hear them in a different context.We also go down memory lane through landmark repertoire and collaborations. Evelyn talks about discovering and recording Paul Smadbeck's Rhythm Song, revisiting it years later, and even developing a creative version for marimba and strings. She reflects on the Bartók Sonata for Two Pianos and Percussion, including the intensity of working at a young age with Sir Georg Solti and the lessons that stayed with her. We then explore her long pursuit of John Corigliano's Conjurer, how the concerto's concept came together, and what it takes to tour a major work night after night, adapting to different instruments and acoustics. Finally, we discuss her experience performing Philip Glass's Double Timpani Concerto with Jonathan Haas, the logistics behind that project, and why she loves the energy of shared soloist roles.To close, Evelyn shares what she is creating right now, including writing for television and film, new books, wide-ranging collaborations, duo projects, and continued foundation work that invites people to slow down, listen deeply, and rethink what connection feels like. This conversation is a masterclass in curiosity, artistry, and attention, and I'm grateful to share it with you.To learn more about Evelyn and the Evelyn Glennie Foundation, visit her website. Music from the Episode:Joseph Schwantner - Velocities for Solo MarimbaPaul Smadbeck - Rhythm SongBéla Bartók - Sonata for Two Pianos and PercussionJohn Corigliano - Conjurer: Concerto for Percussionist and String OrchestraThank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

W/C 12th January 2026As an addition to the bit about things that we just pass-by all the time without really noticing, I went to Milton Keynes this week (go with me on this) because I had been asked to speak as part of a panel discussion on Music Education.Anyway, I stayed at the Hilton hotel which is incorporated into the Stadium MK complex, the homes of the MK Dons football team. Because of the nature of the development the entrance is a fairly small and basic, with just a Reception Desk, a sort of gathering space with a few chairs and the lifts. It starts to open out on Floor Two, when you get the first of the restaurants, a bar area, some meeting rooms and the gym (as well as the first of the bedrooms).All perfectly predictable then, until you get to floor three which just comprises of bedrooms. What I wasn't expecting was the fact that it does a complete loop of the football pitch, so whichever way you turn as you leave the lift, and provided you don't turn back) you can keep walking until you have been around all four corner posts and arrived back at where you started. There are also a number of windows along the route so you get a great view of the playing surface and the stadium itself.Now I have driven past this building on a number of occasions, and eaten in the restaurant, and yet I had no idea about that part of the design. And looking from the outside you equally probably couldn't have worked it out. Pretty cool, eh.Stay safe.Anxiety - Jason Isbell and the 400 UnitTherapy For Me (or TFM as I now refer to it) is a bit of an audio curiosity. It started out as a mechanism for me to clear my head, with the hope that by saying stuff out loud it would act as a little bit of self-help. It's remains loose in style, fluid in terms of content and raw - it's a one take, press record and see what happens, affair.If you want to keep in touch with TFM and the other stuff I do then please follow me on Facebook, Insta, Twitter or Patreon. Thanks for getting this far.

It's NAMM Show season, with Sean and Andy kicking it off with a bang in Episode 313 by getting the scoop on everything NAMM (National Association of Music Merchants) from CEO and president John Mlynczak. He provides a crash course on NAMM, what he's looking forward to at the show in Anaheim this year, the NAMM Foundation educational program, and more. This episode is sponsored by Allen & Heath and RCF.Prior to NAMM, John served as president of Music Education & Technology at Hal Leonard, where he oversaw worldwide education market strategy. He also managed Noteflight, Essential Elements Interactive and Essential Elements Music Class, and collaborated on all music education technology related initiatives for Hal Leonard. Previously, he was managing director of Noteflight, and he's also the immediate past-president of the Technology Institute of Music Educators (TI:ME).John has taught online graduate courses at VanderCook College, served as advocacy chair of the Massachusetts Music Educator's Association, served on the NAMM SupportMusic Coalition, and on the NAfME Advocacy Leadership Force. He is a Google Level 2 Certified Educator and a frequent clinician on education technology and music advocacy.​Before his career at Hal Leonard, John served as director of Education at PreSonus, where he developed curriculum, products, and marketing strategies for music education technology. ​In addition, he taught general music, band, choir, marching band, and music technology, starting the first music technology course in Louisiana and writing the state curriculum for an official approved course. From 2011 to 2013, He served as chairman of the Creative Arts Assessment Committee in Louisiana, and provided model assessment for the creative arts.On top of all that, John has enjoyed a long career of performing as a solo artist and in symphony orchestras, pit orchestras, and Top 40 bands.Episode Links:NAMMNAMM ShowNAMM FoundationJohn Mlynczak OnlineEpisode 313 TranscriptConnect with the community on the Signal To Noise Facebook Group and Discord Server. Both are spaces for listeners to create to generate conversations around the people and topics covered in the podcast.Also please check out and support The Roadie Clinic, Their mission is simple. “We exist to empower & heal roadies and their families by providing resources & services tailored to the struggles of the touring lifestyle.”The Signal To Noise Podcast on ProSoundWeb is co-hosted by pro audio veterans Andy Leviss and Sean Walker.Want to be a part of the show? If you have a quick tip to share, or a question for the hosts, past or future guests, or listeners at home, we'd love to include it in a future episode. You can send it to us one of two ways:1) If you want to send it in as text and have us read it, or record your own short audio file, send it to signal2noise@prosoundweb.com with the subject “Tips” or “Questions”2) If you want a quick easy way to do a short (90s or less) audio recording, go to https://www.speakpipe.com/S2N and leave us a voicemail there

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Melodic Analysis, Expressiveness, Music Education, Jazz Standards, Practice Strategies, Music Theory, Stars Fell on AlabamaSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence delves into the melodic analysis of the jazz standard 'Stars Fell on Alabama.' He emphasizes the importance of understanding music conceptually to develop expressiveness in playing. The discussion covers the seven facts of music, the significance of storytelling in melodies, and practical strategies for practicing and interpreting jazz standards. The episode culminates in a detailed exploration of the melody, including fingerings, phrases, and various interpretative styles such as ballad, bossa, and swing.TakeawaysEstablish a well-thought-out practice approach.Music conceptually easy equals musical success physically.Expressiveness in jazz comes from clarity, not complexity.Professional musicians play melodies as musical phrases, not just notes.Understanding the story behind a tune enhances expressiveness.Target notes are crucial for capturing the essence of a melody.Different treatments of a melody can convey different emotions.Silence is an important aspect of musical expression.The harmony should support the melody, not overpower it.The melody of a tune tells you how it wants to be played.TitlesMastering Melodic Analysis in Jazz PianoThe Art of Expressive Jazz PlayingSound bites"We have a method to our madness.""Music conceptually easy equals musical success.""The melody tells you how it wants to be played."Speculative Fiction Writing Made Simple: Write, Edit, and Publish Your Debut NovelMost writing podcasts just inspire. This one teaches the craft skills that hook readers.Listen on: Apple Podcasts SpotifySupport the show

John Mlynczak is the President and CEO of NAMM, where he leads the world's largest music products trade association at a pivotal moment in its 125-year history. Appointed in 2023 as the industry emerged from the COVID era, John has focused on evolving the NAMM Show through a relationship-first, technology-driven approach that strengthens year-round engagement and meaningful connections for members and exhibitors.A lifelong musician, educator, and technology leader, John brings a rare blend of creative empathy and strategic vision to his role. Prior to NAMM, he served as Vice President of Music Education & Technology at Hal Leonard, overseeing global education strategy and leading platforms such as Noteflight and Essential Elements Interactive. Earlier in his career, he was Director of Education at PreSonus Audio, where he helped shape curriculum, products, and outreach for music education technology.John has spent many years in higher education as an adjunct professor at institutions including VanderCook College of Music, Louisiana State University, and the University of Louisiana at Lafayette, while also serving as President of the Technology Institute for Music Education (TI:ME). He is a Google Level 2 Certified Educator, a frequent speaker on music education and advocacy, and has served on numerous national committees supporting arts education.As a performer, John is an accomplished trumpeter with experience ranging from orchestral and pit work to jazz and contemporary ensembles. He holds a Bachelor of Music Education from Virginia Commonwealth University and Master's degrees in Music Performance and Education Leadership from Louisiana State University.At the core of his leadership philosophy is a belief that technology should enhance - not replace - human connection, and that relationships remain the most powerful force in the music industry.This Episode is brought to you by ETC and Main Light

Governor Kathy Hochul gave the 2026 state of the state address today. She spoke about the changes made in New York in the past year, including increasing the minimum wage, removing phones from schools, and investing in clean energy. On Monday, almost 15,000 people rallied at hospitals around New York City. WFUVs Sienna Reinders and Sonia Weliwitigoda went to one of the strikes. WFUV's Strike a Chord public service campaign highlights non profits in the Tri-State Area. This season, we focused on organizations that support arts and music education. WFUV's Alexandra Pfau spoke with Lou Chen. He's the CEO of Intempo, a Connecticut music school. Host/Producer: Alexandra Pfau Editor: Tess Novotny Reporter: Sienna Reinders Reporter: Sonia Weliwitigoda Theme Music: Joe Bergsieker

In this episode, I sit down with drummer, educator, speaker, and author Rich Redmond, and this conversation goes far beyond the drum set. From the moment we start talking, it's clear that Rich approaches music and life with an uncommon level of purpose, energy, and presence. We talk about why he plays every song like it might be the last one he ever gets to play, how longevity changes your perspective on time, and why being fully present matters just as much offstage as it does behind the kit. Rich reflects on nearly five decades of holding the sticks, what it means to love the work truly, and why every gig still feels like the best day of his life.We dig into Rich's background growing up in Connecticut and Texas, how Texas marching band culture shaped his musical foundation, and why music education in that state continues to produce world-class players. He shares stories from his early training, the classic method books that shaped his hands and mind, and how transcription became a survival skill when he moved to Nashville. Rich breaks down how charting, reading, and preparation quickly opened doors, why the Nashville number system is such a powerful tool, and how learning to create efficient charts can save gigs and careers.A significant focus of the conversation is Rich's belief in using all of your gifts. We talk about his work as an educator, public speaker, author, and podcast host, and how teaching reinforces your own understanding of music, communication, and purpose. Rich explains his CRASH philosophy, commitment, relationships, attitude, skill, and hunger, and how that framework shaped his life, his speaking career, and his approach to helping others succeed, whether they are musicians, students, or corporate audiences. He shares how blending drumming with storytelling keeps audiences engaged, why attention spans are shorter than ever, and how performance can make ideas stick in ways slides never will.We spend time unpacking his long-running work with Jason Aldean, including how studio and live drumming require different mindsets, how records are made efficiently at a high level, and why consistency, trust, and preparation matter more than flash. Rich explains how live drumming is about execution, confidence, and making everyone onstage feel safe, while still delivering energy to the back row. We talk about signature fills, macro rhythms, playing in food groups, and why honoring the record while amplifying the live experience is part of the job.Rich also walks through his teaching philosophy, from Drumtensives and masterclasses to clinics and one-on-one coaching. He explains why reading, time, left-foot independence, stylistic awareness, and charting are non-negotiables, and how meeting students where they are can unlock confidence and growth. We also dive into the soft skills of being a working musician, why being prepared, likable, and open to direction often matters more than chops, and how trust keeps you working long term.We close by talking about health, longevity, curiosity, and why Rich continues to challenge himself creatively through writing, speaking, podcasting, and new musical ideas. It's an inspiring, practical, and honest conversation about building a meaningful career, staying hungry, and using music as a vehicle to lift others along the way.Music from the Episode:Amarillo Sky (Jason Aldean)My Kinda Party (Jason Aldean)The Truth (Jason Aldean)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with drummer Paul Stewart for a conversation that starts with how music can connect people across oceans and turns into a deep dive on taste, touch, craft, and the long arc of a career. Paul and I talk about how I first discovered his band The Feeling years ago from a CD a friend handed me after a gig, and how that one listen turned into a long-term appreciation for the songs, the playing, and the production. Paul shares why so many musicians connected with that sound, and how their work pulled from both the 70s world of Supertramp, 10CC, Elton John, and Fleetwood Mac, and the deeper 60s roots that fed that era, like The Beatles, The Stones, The Kinks, and The Zombies. We get into drum sound, why that thuddy, dead 70s tone fits their music so well, and how those choices shaped the identity of the recordings.Paul walks me through his origin story, from being hooked on drum sound as a kid, to getting his first kit at 12, to saying yes to every playing opportunity he could find. He tells an incredible story about a middle school teacher who stayed late after school so Paul could get extra time in the drum room, and we zoom out on how mentors, parents, and supportive educators change the course of a life. From there, we talk about preparation, professionalism, and the responsibility you carry in an ensemble, including how the anxiety of being underprepared can be its own lesson in why doing the work matters. Paul also shares a regret he has about not keeping his reading chops sharper, and why playing along with records became his true north as a drummer.We dig into influences from both sides of Paul's musical world, from rock and early Chili Peppers and Rage Against the Machine, to the cassette tapes an uncle sent that opened the door to jazz, funk, fusion, and players like Vinnie Colaiuta, Dave Weckl, and the Tower of Power world. Paul explains how the UK acid jazz scene became a significant pull, and how an acid jazz band at music college eventually evolved into The Feeling. We also talk about what it's like working with major artists outside the band, including how touring logistics can lead to local musicians being hired, and how surreal it can be to play iconic songs with legendary voices while still remembering they're just musicians on stage doing the same job.A meaningful part of our conversation is about performance anxiety, stage fright, and the emotional extremes musicians ride before, during, and after gigs. We talk honestly about confidence, coping, and what it means to choose a healthier path, and we acknowledge that even global superstars can struggle with fear right before walking on stage. Paul and I also reflect on the approaching anniversary of The Feeling's first album, how those songs were originally recorded as a weekend friends project without any expectation of success, and how playing them now carries twenty years of growth, finesse, and perspective while still honoring the original parts that make the songs work. We close with what Paul has been up to recently, including work with Anastacia, Paul Young, The Voice UK, and the broader creative world around the band, and why music remains a powerful source of joy, balance, and hope for people everywhere.Music from the Episode:Never Be Lonely (The Feeling)Everyday and All of the Night (The Feeling)Sun Won't Shine (The Feeling)I Want You Now (The Feeling)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Composer Michelle DiBucci is a versatile artist whose work spans theater, opera, dance, and film. Michelle has made significant contributions to contemporary music, having collaborated with renowned ensembles like the Kronos Quartet and created works performed at prestigious venues such as Alice Tully Hall and the Komische Oper in Berlin. Her rich background includes studying under esteemed composers like Louis Andriessen and teaching at Juilliard since 1992, where she shares her passion for music and theater with aspiring artists.In this first part of our conversation, we explore Michelle's early influences, from her childhood experiences with television soundtracks to her pivotal moment of discovering the relationship between music and visual storytelling. She shares her journey from acting to composing, detailing how mentorship shaped her path and the lessons learned along the way. Michelle's insights into music composition reveal the intricate balance between creativity and the realities of the industry.[Subscriber Content] In the second part, we delve deeper into her composition approach and the collaborative process behind her compositions. Michelle discusses memorable projects, including her opera based on Charlotte Solomon's life, and highlights her thoughts on the changing landscape of music education and the impact of technology on future generations of musicians. This section offers valuable perspectives on navigating a career in music, alongside a reflection on the importance of live performances in an increasingly digital world.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

KeywordsJazz Piano, Growth, Harmony, Improvisation, Melodic Design, Solo Piano, Music Education, Jazz Community, 2026 VisionSummaryIn this final episode of 2025, Dr. Bob Lawrence reflects on a year of growth within the Jazz Piano Skills community, emphasizing the importance of harmony, melody, and improvisation. He introduces the Four Pillars of Jazz Piano, which will guide the learning process in 2026, focusing on harmonic architecture, melodic design, improvisation development, and solo piano interpretation. The episode concludes with gratitude for the community's commitment and a vision for the upcoming year.TakeawaysThe final podcast of the year is a time for reflection.2025 was marked by growth in musical and educational aspects.Jazz Piano Skills emphasizes understanding over shortcuts.Harmony is essential for creating strong melodies.Improvisation is structured composition in real time.Emotional playing stems from harmonic awareness.Harmony serves as the musical map for melody.The Four Pillars of Jazz Piano will guide future studies.Each pillar supports the others in learning jazz piano.Community commitment is vital for musical growth.TitlesReflecting on a Year of Growth in Jazz PianoThe Importance of Harmony in Jazz MusicSound bites"This podcast is a special one for me.""Emotion comes from harmonic awareness.""Thank you for trusting the process."Support the show

In this episode of Music Ed Tech Talk, Robby sits down with Theresa Hoover to discuss AI guidance in music education, creativity in the classroom, task management for educators, and what's new in their professional lives. Topics include NAfME guidance on AI, next-gen Siri, automation workflows, and listener questions about sustaining creativity in a distracted world. Support Music Ed Tech Talk Become a Patron Buy Me a Coffee Show Notes & Links Intro & Community 00:00:00 – Hello and welcome 00:00:30 – Thanks to new Patreon supporter, Drew Ross News, Blogs, and AI Updates 00:01:23 – Theresa's newest blog on COPPA and FERPA** - https://offthebeatenpathinmusic.com/play-it-safe/ Affinity creative apps 00:10:30 – What's New in AI Next-gen Siri (expected 2026) Tim Cook provides update on next-gen Siri development Sky AI and the impact of OpenAI acquiring Sky AI Guidance in Music Education 00:16:15 – Released guidance in the music education world Yamaha: AI in the Music Classroom NAfME: Guiding Principles, Frameworks, and Applications for AI in Music Education Classroom policy framing Alignment language for administrators Practical classroom use cases Moises AI Studio — AI-generated, tempo- and harmony-aware accompaniment stems for student compositions and arranging Higher Ed & Classroom Practice 00:24:15 – What is emerging from Theresa's undergraduate classes? Automation Station 00:26:34 – Automation Station & task management Concert planning task templates Things 3: Organize Your Life Ask METT 00:32:21 – Listener question from Kate Bateman How do you manage teaching creativity and having opinions about music in a world where kids won't concentrate on anything for longer than a minute? Reference: Drive by Daniel Pink 00:41:51 – What is music for for kids? What's Up With Theresa 00:45:18 – New job update Wrapping up the doctorate 00:52:08 – Is it finally time for forScore and an Apple Pencil? What's Up With Robby 01:00:14 – New OS and first impressions of Apple Vision Pro The "wow factor" is actually wow Music Picks 01:13:38 Robby: The New Tango – Gary Burton & Astor Piazzolla Theresa: Afterglow – Saint Motel (Oct. 2025) Wrap-Up 01:17:39 – Where to find Theresa TheresaHoover.com Pass the Baton - https://passthebatonbook.com/pass-the-baton-podcast/ Book: Empowering Ensembles with Technology 01:20:20 – Farewell… plus Q&A on Theresa's dissertation on music teachers and educational podcasts Chapters 00:00:00 – Welcome & Intro 00:00:30 – Patreon Shout-Out 00:01:23 – COPPA, FERPA, and Blogs 00:10:30 – What's New in AI 00:16:15 – AI Guidance in Music Education 00:24:15 – Undergraduate Teaching Insights 00:26:34 – Automation Station 00:32:21 – Ask METT 00:41:51 – What Is Music For? 00:45:18 – What's Up With Theresa 00:52:08 – forScore & Apple Pencil 01:00:14 – What's Up With Robby 01:13:38 – Music Picks 01:20:20 – Final Q&A & Farewell Where to Find Us Robby: robbyburns.com Theresa: theresahoover.com

In this episode, I sit down with percussionist Doug Perkins for a wide-ranging conversation that starts with a few personal connections and quickly opens up into a bigger discussion about music, teaching, and the kind of “improbable events” that can change a person's life. Doug and I talk about our shared link through LSU and Brett Dietz, and Doug tells the story of how he learned bass guitar in the eighth grade to get into a jazz band, which led to rehearsals at home, a punk band with Brett called The Septic Creptics, and a deep early education in groove, feel, and listening. We dig into the teachers who shaped Doug's path, especially Jack DiIanni, and why fundamentals, sound, and real-life performing situations became such a foundation for everything that came next.Doug shares how his background in drum set and bass informs the way he plays and teaches, especially when it comes to music like Steve Reich, where micro-groove, ensemble feel, and knowing your role inside the bigger texture are everything. We also talk about how students learn now, how algorithm-driven listening can shrink context, and why so many young musicians feel pressure to avoid mistakes when everything can feel like a permanent record. Doug explains how he actively teaches context, lineage, and listening, and why basic production skills matter more than ever, including signal flow, microphones, sound reinforcement, and the simple confidence that comes from knowing how to set up a PA or wrap a cable correctly.From there, Doug takes us into his world at the University of Michigan, where he helps lead a large percussion studio with a faculty team that spans orchestral playing, contemporary music, improvisation, and drum set. We talk about the balance between performing and teaching, and how parenting an 18-year-old college student has changed the way he supports first-year undergrads. Doug also tells the story of his long relationship with composer John Luther Adams, including how a formative early experience with Strange and Sacred Noise eventually led to performances in the Alaskan tundra, floating stages in Central Park, and outdoor concerts where the audience hikes in and the environment becomes part of the piece. We wrap up with what's ahead for Doug, including significant projects, collaborations, performances, and the ongoing joy of bringing students into real work that proves their “crazy ideas” can matter in the world.Music from the Episode:Nagoya Marimbas (Steve Reich, composer - Todd Meehan & Doug Perkins, marimbas)XY (Michael Gordon, composer - Doug Perkins, percussion)Strange and Sacred Noise (John Luther Adams, composer - Morris Palter, Rob Esler, Steven Schick, & Doug Perkins - percussion)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Quaranteam - Dave In Dallas: Part 6 Planning a Future. Based on a post by RonanJWilkerson, in 12 parts. Listen to the Podcast at Explicit Novels. October 17, 2020. All of Dave's partners were at the park, setting up the folding table and portable gazebo. None of his partners were wilting flowers, so he couldn't exactly muscle his way in to doing the set up. But, they had taken off with the intent that three would return to clean the dishes while the rest hung out in the park for Shawna to get off in barely an hour. Roscoe and Esme, of course, were among those getting to run around in the grass and fresh air. So, Dave was at the sink, scrubbing dishes with some of his favorite songs playing out of his Echo Show in the kitchen. The volume was cranked, and so was Dave's voice as he sang along, rather skillfully, but a bit out of practice. Currently, he was belting through a Kenny Loggins song. One that got him energized and moving. Isabella's eyes, Oh, shine your light and make your momma smile "Who, yeah, shake it baby!" Dave spun around, caught in the act. Doing dishes, and singing. And dancing. Sort of. Mel and Becca stood at the entrance to the kitchen, clapping and whistling. Lupie was beside them, with a smile and a raised eyebrow. "I claim dibs on naming my first daughter Isabella!" Rebecca called out. Melanie pursed her lips and looked defeated. "I'd fight you for that privilege, but with a daughter named Esmeralda, that'd be too close. Besides," Lupie added with a wry smile, "some would say it's the same name, so I guess I got there first." Then, she playfully stuck out her tongue. Now, Lupie is often fun loving, but this was a level of silly unheard of for her. Everyone was too busy laughing with her to show much in the way of shock though. Dave moved in to hug her and delivered a soft kiss. Lupie hummed into the kiss and smiled before pulling back with a playful scowl. "Don't think I forgot you were doing basic chores, David." "They needed doing, and I didn't have much on my plate at the moment, corazon ." Lupie just narrowed her eyes at Dave's reply, but the smile below gave away her jest. For added measure, Dave slapped her ass and then squeezed. That and Lupie's 'Eep!' got Mel and Becca laughing again. Then they took up position behind Dave's shoulders, so he was surrounded by his partners. Their hands slid along his sides in ways that were chaste, for now, but hinted at an interest in something more. "No, horny girls, remember this is Shawna's celebration. Picnic party in the park, the gift from Becca and Reena, and then she gets Dave all to herself until after breakfast." The younger women groaned, but acquiesced. "Shawna's heading straight there from work, and she texted me a few minutes ago she was on her way out the door. We need to wrap up here in short order and get to the park." Lupie sent Dave to wash up and change for the party while the ladies finished the remaining dishes and picked up the last needed items for the party. They got to the park about ten minutes before Shawna, or just enough time for Roscoe to finish saying hello to each of them. The other ladies greeted Shawna warmly, then she advanced on Dave, who had been waiting his turn. "Congratulations, babe. I'm proud of you and happy for you." Shawna wrapped him in a tight hug and a long, lingering kiss that was smoky rather than fiery. "I've been looking forward to that all day." Dave smiled and dropped a quick peck on her lips. "So, just the two of us until tomorrow morning huh?" Shawna grinned. "Umm-hmm. Very accommodating crew you've drawn to you, darling." "And pretty good cooks too. You should get something to eat. I made that cucumber tomato salad you like." "Ooo, with the fresh veggies you just harvested?" Dave nodded. Shawna skipped happily to the table, Dave beside her, holding her hand. Dave ate a double helping of everything. Each dish was tasty, and he was hungry. He sidled up to Shawna. "So how's Skippy the Wonder Boy doing?" Shawna's department now consisted of her, a young and fresh out of college guy with his master's in meteorology, and a young lady that was on her internship last spring when lockdowns hit. Each had different levels of skills, and each had shortages that Shawna, as the boss, had to train them up from. At least 'Skippy' had finished all the classes. He seemed like a pleasant guy on air. Unfortunately, he looked perpetually 14, wearing one of daddy's suits. The scruffy attempt at a beard was not helping. Shawna's scowled. Hard. "Mitchell is coming along just fine. Especially for a young man thrust into a position with far more responsibility than he should have to carry this soon out of school." "I'm sorry, hun. He always comes off as very pleasant, but he also looks way too young." "He is too young. He's handling his professional duties quite well, though. It's his personal life I worry about occasionally." "How so?" "Well, his first partner was a former Cowboys cheerleader, and looks it. She's been off the squad for two years, so she didn't get snapped up by some rich guy wanting a trophy." Shawna paused to a rough exhale. "But yeah, this earnest, and rather naïve, nerd boy has the devastatingly hot, bubbly woman three years older than him dumped in his lap. His first day back after she'd joined him, I thought the top of his head was going to fall off, he was smiling so big." Dave snorted at the image. He could understand the boy's predicament. That made him think. "That was just the start. His second partner was his sister's best friend; she was homecoming queen and prom queen. The sad side is, his sister didn't make it." Shawna's voice caught. "So sometimes he's having sex with this beauty that he never thought would come near him, and sometimes they're crying together over his dead sister and her dead friend." "Damn this fucking virus," Dave said huskily. He blew out a breath. "He really is one of us isn't he?" Shawna nodded. "How many partners does he have?" "Mindy, his fourth partner joined him last week. He's probably getting a fifth soon." She thought for a moment. "Guess that means you'll be getting another lady soon as well." Dave shrugged. "Yeah, maybe. I'm at seven now, so maybe that's it. That would be fine by me. Any one of you alone are incredible." He paused for the appreciative kiss. "I was thinking, if both families are plused up enough to be safe, then maybe we should invite him and his partners over. For games, or just talk and some background music." Shawna brightened. "Now that's the man I fell for." She kissed him firmly on the cheek. "I don't know if he has any friends or family left, and his girls are nice ladies, but not nerds. Well, Ginger, his third partner is an anime fan, but I think that's the extent of her nerd creds. Mindy's an athlete. Now, all of them love him to death, and they may share some of his other interests, but not the nerdy stuff." Dave frowned. "Sounds like Oracle isn't working out for him." "Oh, no. He has interests that aren't strictly speaking nerdy. And I know there's some sharing going on there. Kelly, the former cheerleader, shares his love of gardening." "And that's something Liv and I can share with the both of them." "Yup." "Okay, let's talk it over with the others and plan something." Dave looked chagrined. "So, uh, what's his real name?" Shawna gave him a pursed-lip grin with narrow eyes. "Mitch. Mitchell Westfield" "I'll work on that." Shawna gave him some side-eye, but with a grin, as they walked back to the others. Becca and Reena were waving them over excitedly and everyone had gathered around the box with the cake Lupie'd made. Shawna opened the package Reena held up for her. In the small box was a black t-shirt with the station logo over the heart on the front and "Weather Boss" across the back. The girls had carefully made sure it was just the right fit, not too snug or too loose for Shawna to wear to work. She laughed and hugged each teen. "You two are pretty awesome you know?" Both young ladies beamed. Shawna draped the t-shirt over her shoulder as Lupie opened the box to reveal the cake. It was three layers, with milk chocolate icing. On the top was the station logo, with the words 'Chief Meteorologist'. Around the sides, as one walked around, there was a sun breaking through clouds, a cloud with rain falling from it, and the third tableau depicted a tornado, with a bit of dust obscuring the bottom. "Oh, it's perfect Lupie! Thank you so much!" The ladies embraced before Lupie set about slicing the well-crafted dessert. Naturally, Shawna got the first slice. Between the layers was a thin puree of strawberries; Shawna's favorite. That was good for a small happy dance, which in turn, made Lupie happy. With everyone chatting happily, Dave slipped away from the others. He just had a small side trip he needed to make. About fifteen minutes later, Shawna came around the bend in the sidewalk as it exited the trees near the base of the bridge. She moved, unhurried, to Dave's side as he stood at the peak of the bridge, looking down at the stream passing below. In flood stage, it took a wider path, and might legitimately be called a river. Most of the time, it remained within the narrow channel with broad margins that were pleasant to walk along if you wore the right footwear. "You know, we all saw you leave. We just thought you needed some space. Or some time." She looked into his face, seeing the evidence of tears, but not a full-on bawling episode. "This is Eddie's bridge isn't it?" Eyes watering again, Dave didn't trust himself to speak and merely nodded. Shawna stepped closer and hugged him. They stood like that for a few minutes before she slowly released him. "Thanks. I needed that. I just; I'm such a damn wimp. I know I need to be stronger for all of you, but I; I can't move past this." "You keep focusing on the times you fall down. I see the man that gets back up, shoulders the burden, and keeps going." "I don't want to though, I only do it because I have to." "That's what makes you the man I've fallen in love with. No one wants to take the burden, and some people refuse to do it. You do it, knowing how much pain you'll go through again." "This world sucks ya know." "It always has, we just papered over it and let ourselves forget. Now is one of the times the ugliness rips through the paper walls and makes us look it in the face." Shawna paused to stroke the side of Dave's face soothingly. "Do you remember the Kurlan Naiskos, in TNG?" "Yeah." "One of your voices is an ox. Carry any burden, push through any problem, get the job done no matter the cost to yourself. A low-key hero. Maybe not the only hero within you. All I'm saying is, I am very glad to have you in my life, and to be a part of your life." They stood there at the railing, looking at the water for a minute or so. Then Shawna spoke again. "Honestly David, we're talking about your son's death here. I'd be worried if you weren't having bouts of sorrow. Hell, that would scare the shit out of me. I'd much rather come home to find you curled into a fetal position bawling your eyes out, than you just blithely going about your life as if nothing happened." Dave looked up at her and smiled weakly. "Okay. Sorry, I just feel like such a pussy when I get like this." "Don't make me tell Becca on you," Shawna said with a grin. With a sly smile, Dave rejoined, "So, how may I convince you to keep my dirty secret?" "Hmm, kitty's hungry, Davey." Shawna said in a low tone. Then she nibbled her finger and switched to a higher pitched schoolgirl pleading tone. "Kitty needs cream. Please Davey, pump your cream into my hungry, wet kitty." "Kitty hell, I'm looking at a strong, capable panther that could eat me alive and make me smile the whole time." Shawna grinned, excited. The skirt she wore that day was long and loose, without being flowy. Dave knelt briefly to reach his hands up and pull off her thong panties. He stuffed them in his pocket as she gathered the lower part of her skirt in her hands and leaned back against the railing. Fortunately, Dave was wearing jeans instead of cargo shorts today. Cargos would have dropped to his ankles the moment he unbuckled, leaving his bare ass out for anyone to walk by and see. Though no one seemed to be on the trail today. Instead, he unbuckled and unzipped, lowering his jeans and boxers just enough to bring his already half-erect cock out. When he stepped closer to Shawna, she wrapped her left leg around his waist and draped the skirt to cover the both of them. A few minutes of hungry kisses and energetic groping had Dave at full mast. He slipped himself inside Shawna's drenched pussy while she groaned. They fucked hard. Shawna focused mostly on staying upright and close, but put some effort into fucking back at him. Dave drove himself into her, his hunger matching hers, one hand behind her torso, the other fondling her tit through her shirt and bra roughly, the way she liked when they were going fast. His thumb and forefinger grasped at her nipple, and Shawna hit her first orgasm. She shook in Dave's arms, her rippling inner muscles running riot on his intruding organ. As she calmed, he approached his peak. She could see it in his eyes and urged him onward with soft, lusty whispers. As Dave erupted, she clutched him tight, her body overcome with spasms as the serum renewed her attachment to him, giving her pleasure when he attained climax. When her shuddering subsided, she kissed him warmly. Dave slipped himself out of her and quickly fixed his boxers and jeans. He handed her panties back, so she had something to stem the fluids flowing out of her. There were knowing smiles when they rejoined the others, but no commentary. In the mid-evening, with dusk sufficiently fallen outside, Dave and Shawna lay cozily tangled in the bath. With darkness outside and only the smallest, dimmest light on the vanity, the lighting gave a warm, inviting ambience. Peach bubble bath scented the air more than the water. It was just a little late in the year for a fresh peach; Dave checked that early in his planning. Shawna took another deep breath, a big, lazy grin on her face. "My favorite scent ever." "So can I call you my Georgia peach, even if you're not from Georgia?" "Well, I sort of am. My mother's from Georgia. Mom and Dad met at UGA. He was majoring in Civil Engineering and she was majoring in Music Education. When they graduated, they moved to St Louis to start their new life together. Dad grew up in Creve Coeur, a town near St Louis." "That's a sweet story." "Umm hmm. I'm hoping to have the same happily ever after here. They're both alive and quarantining hard. Hopefully, the vaccine will get there soon. I haven't said anything to them directly, but they are being careful." Dave gave a slight extra squeeze to the hug. They sat there in silence again for a while. Then Dave's hands slipped downward a bit, cupping her tits lightly as he hummed '; really love your peaches wanna shake your tree ;” Shawna recognized the tune and chuckled. It was a long, slow, comfortable night, with more cuddling and light touching than sex. Ditto for the wake up. Chapter 8; Planning a Future. October 19, 2020. Shawna's early shift meant she was home for dinner with enough time to change and sit with the family talking while Lupie and Reena prepared the meal. "Mom was a pretty good painter. She actually sold a few at small auctions. The one she was proudest of, she gave to Dave though. He's a fan of seascapes, so she made this beautiful painting with a cliff in the upper left and a roiling, storm-tossed ocean filling most the canvas. Lots of white caps and ocean spray, dark stormy waters, the whole works. You could almost feel like you were on the deck of a ship struggling to stay afloat in the storm." Liv looked wistful as she spoke of her mom's talents. "Oh! I've seen that one!" Jan exclaimed. The others looked between Livy, Dave, and Jan. With a neutral face that they had become accustomed to at certain times Dave said, "I put it away in a closet to keep it safe. I; went through a dark time there for a while. I didn't want to damage it." "And I found it when I was looking for the book boxes you mentioned. I'm sorry I brought it up, Dave." Olivia nodded her agreement with Jan. "Don't be ladies. Janelle's gift is a bright point. Honestly, I'm at a place now that I would feel safe bringing it back out. And the photos." A small relief settle over the gathering. There were a few spots that obviously held a picture or painting for some years, but had been bare when the ladies arrived. The general state of the world, and the events of Olivia and Melanie's arrival made each reluctant to broach the subject. "It would be good to see pictures of Eddie, Janelle, and; Carter?" Shawna said softly. "I don't think I ever saw Livy's parents, but I met Eddie a few times." Becca chimed in. "He was a nice guy. Kinda handsome too. But, I know where he got that from." She blew an air kiss to Dave. The others grinned or chuckled, with a few nods. "Well, she made the painting in Eddie's senior year, and he was between girlfriends when Mom finished. She had me bring it over on a weekend she knew Eddie was staying with Dave. Dave hadn't moved to this house yet." Dave chuckled, in memory, as he realized where Olivia was going with this story. "Keep in mind, Eddie is almost three years older than me. At the time, I was a few months past fifteen, and Eddie was shy of his eighteenth birthday by a few months. Mom drives me, but hangs back a bit, having me talk to Dave and Eddie. I get to Dave's front door, all flustered, 'cuz here's my crush, that I fantasize about spending my life with," Olivia is beaming a big smile at this point, with Dave replying with a shame-faced smile, "being all happy for this gift I'm giving him and showing me all this affection, but like I'm a well-loved daughter, not a woman he'd go out with. And all these little-girl-in-love feelings are just going haywire." The older ladies all showed some level of sympathy for Olivia. For her part, Becca slipped off her spot, nestled in beside Dave and said, "I don't know what you're talking about." The play-act was good for a chuckle. "That's when Eddie pipes up and offers to take me out that evening. He looked uncertain, but somewhat interested. We were friends, but there'd been no romance, no attraction. I was torn, because Eddie is a; " Olivia swallowed "--was a great guy, but he wasn't the guy I was after. I agreed, though. A week later he admitted that Dave put him up to it, and Mom was almost certainly involved. The three of them made multiple attempts at throwing us together. Hell, Eddie was the only boy Daddy didn't try to scare off." "Wait, so you dated Eddie?" "Not really. It was just two friends hanging out. It happened a few times as Mom, Dad, and Dave kept trying to get us together, but it never stuck. We both thought the other was an incredible person," she paused for a second again, "but there was no; no spark of desire. I mean, yeah, he thought I was pretty, I thought he was handsome, but it just wasn't there." "OK, 'cuz that would have been really weird. Especially if you two had; " "Nope." Olivia said it awfully quick, with a bit of extra color rising in her face. That caused everyone else to lean in. "Girl," was all Shawna said. Olivia rolled her eyes and exhaled hard. "They were trying so hard, and we really liked each other, and we thought maybe if we just tried; but we couldn't kiss without giggling. Like we couldn't bring our lips together we'd bust out laughing first. On the cheek was fine, but lips touching was just too goofy." Olivia stared off into space for a moment. "Okay, there was one time we tried to go all the way. I was over eighteen by then. We each undressed ourselves, but by the time we were both naked, we both had the nervous giggles. On paper, we should have been a great match, but something big was missing." "Oh, I've felt it," Becca said, waving her hand in the air, "I know what the big missing thing was." The whole house cracked up laughing. "Hey, we are talking about my friend here. And he's Dave son, so he was no slouch there. It just wasn't hard. That was a little demoralizing. I'm standing there, naked, tits out, not trying to hide anything, and I was already keeping it trimmed, so it's all out there where he can see it, and he's limp. Full length, but limp. That was a blow to my ego." "Coulda been worse. If you had slept with Eddie ;” A collective shiver ran through the room. "Yeah, yeah that would be weird. I may or may not have gone out the next weekend and found a guy to assuage my hurt ego, though." A few sympathy nods occurred in response. "About two months later, I found another boyfriend, but by then, I knew in my heart I was just biding time 'til I was old enough to pursue Dave. I was over eighteen, of course, but I knew I needed to be a bit older to really get his attention. That relationship eventually petered out, and every guy since has been a month or two fling about twice a year so I don't go crazy." "And now you have your dream guy." Jan supplied. Just then, Reena came out to the arch separating the dining room and living room. "We're starting to bring dishes out to the table. You can start taking seats." Looking at Becca, she added, somewhat resignedly, "Did you tell him yet?" Becca squealed. "I almost forgot! Thank you for reminding me! We were watching MTV earlier, and they're going through a leadership change. Like all the bigwigs got fired, and now they have a new CEO." Dave looked askance. "I haven't been interested in MTV for a few decades, back before they should have stopped using the 'M' if they were being honest." "That's just it though! The new guy has announced they will refocus on music." "But I liked The Real World!" Kareena grumped. Becca stuck her tongue out at Reena, before turning back to Dave. "And you'll never guess who the new head of MTV is!" "I don't follow music industry executives, so no, I really have no idea, who it could be." "But you know this guy," she said with a wide grin. "He's a little white, a little nerdy. He likes polka; " "No. Way." Dave said with a grin on his face. "Weird Al?" Shawna started chuckling. "Seriously?" "Yep! Weird Al Yankovich is the new head of MTV! They're having a grand re-opening Wednesday, noon, Pacific Time. They said there will be themed hours, so certain times will be 80's music, or 90's, or girl-pop, or hard rock, etc." "Wonder if they'll borrow VH1 'Pop-up Video' with the little factoids. That could be a good hour-block too." That's when Lupie appeared to summon them all to the table for dinner. Firmly this time. As dinner wound down, Lupie turned to Becca. "Have you asked him yet?" The little blonde shrunk into herself. "No," she said softly. "Ask me what?" Dave inquired. Reena looked at Becca like she was waiting for her to take the lead, but wouldn't for much longer. Rebecca swallowed hard, inhaled like she was steeling herself, and looked at Dave. "We didn't get a prom. Reena pointed that out last week. And, back then, it wasn't an issue for me. I mean, even without; everything that's going on. But now, it'd be kinda cool. So, um, the others are putting a prom on for us; me and Reena, I mean; so, uh, Dave, would you take me to prom?" Dave was surprised, and a little stunned. "I, uh," he sputtered, until Lupie, Jan, and Shawna fixed him with very determined looks. "Of course. Yes, Rebecca Sampson, I will escort you to prom." The cheers around the table settled after a moment, and attention turned to Reena. She beamed. "Dave, would you take me to prom also?" With a big grin, Dave replied, "Well, I dunno, I already have one prom date ;” his tone was playfully enough to keep most of the panic flutters out of Reena's stomach. "I would happily share a prom date with Reena." Becca interjected. "Then yes, Kareena Agrawal, I will escort you to prom along with Becca." Another round of cheers as both girls laughed. "So, you get a second prom Dave, this time with two hot dates!" Jan teased. Dave looked at her side eyed. "First actually. I wasn't in any kind of social demand in high school." "Wait, you didn't go to prom?" half the ladies exclaimed. Dave scoffed. "It was a social thing. I was a nerd. Okay, I'm still a nerd, don't give me that look. Anyway, I didn't belong at social events. Dances, football games, I didn't go and nobody missed me." "I'm a nerd, and I went to prom, David." Shawna replied. "You're a pretty girl. Boys like to go to dances with pretty girls. Girl nerds still get asked out, especially when they're attractive." No one wanted to ruin the mood by pursuing that line of discussion further, but they all noted an undertone in Dave's comments. October 21, 2020. Dave planted soft kisses on Lupie's shoulder as he drove himself in and out of her hot, wet tunnel. He held her hip with one hand and traced lazy patterns on her abdomen with the other. Lupie's hands rested on the wall as she bent over, pushing her ass out so Dave could pump himself into her sex. They were ten minutes into what was supposed to be a quickie, but both enjoyed the union so much they were subtly stretching out the encounter. Of course, the fact that Esme's room was right next to Dave's office added some need for quiet. And quiet fucks were generally slower. Still, they couldn't take forever. With this many people in the house, no matter how quiet they were, if they kept going, someone would walk in on them. Dave slipped his hand from Lupie's belly up to her tit. He took a firm, possessive grip and rubbed her nipple with his palm and massaging the bulk of her tit with his fingers. Lupie's right hand left the wall and flew to her mouth. Her shoulder braced against the wall, Lupie's eyes rolled back as her torso convulsed. Her low moan of ecstasy was largely stifled by her hand. The undulation of her inner muscles set Dave off, and he fired several ropes of hot cum into her waiting passage. Both stood there for a minute, steadying themselves and luxuriating in the primal satisfaction of the completed act. As Dave softened and slipped out of her, Lupie reached to the side table and grabbed some tissues to catch any leakage. She turned, resting her back against the wall and staring into her lover's eyes. "You know David, tomorrow is the day. Hopefully." Dave looked at her quizzically. "I ovulate tomorrow. I've been tracking it. This time could be the one that gets me pregnant." Dave leaned into Lupie and took her in his arms. A shudder passed through him as he realized he might soon be a father again. A dark, demented voice rose up to remind him just how well that worked out the last time. "Still," Lupie purred with a grin, "I wouldn't mind a second dose tomorrow, just to increase our chances." Dave kissed her slowly on the lips, with no tongue. "Purely for reproductive purposes of course." He added a wink. Lupie hugged him tightly after barking out a short laugh. Then they dressed and she headed back downstairs. Dave opened the new microfridge and pulled out a bottle of water and a pouch of tuna in sunflower oil. Livy and Mel picked up the fridge last week, during the grocery run. The same trip they'd gotten the palmprint secured gunsafe for Livy's headboard. Mel and Reena put it in place while Dave and Liv installed the safe. He guzzled about half the water bottle before setting it down. Then he took his time with the tuna and the other half the bottle. Time enough to mull over his problem. His game might be dead in the water, for good this time. As with so many others, he hadn't heard back from the artists that made the images for him in too damn long. The background artist, Harrison Black, had been incommunicado for months. That may not be an insurmountable problem. There was only one background missing from the scenes he had planned out. Those scenes might be movable to one of the existing settings. Or maybe he could find an artist to make that last image and match Harri's style; but that would be a dicey prospect. As long as he didn't add any new locations, he was good there. But; his character artist was also not responding. His last email two months ago mentioned he was sick. He had finished all of the characters through the last update, but the game had three more characters to complete the cast, and one played a pivotal role in the last two scenes of the pending update. He needed to find a new artist. And negotiate a new contract. For a game whose market may have shrunk drastically. Who the hell would pay money for a game about a guy surviving an apocalypse and fucking hot babes when they're in the middle of an actual apocalypse and every surviving guy had several women addicted to his cum? It was still worth a shot though. After mulling over the wording, Dave opened Discord and navigated to UnVale, the site he'd used before. He found an appropriate thread and started typing. budget: $800 plus 10% of revenue work: headshot and 3d poly-rigged female character, character description (rough physical and detailed personality) provided in further communications. three characters needed. possibly three artists, one per character. Upfront and percentage applied per character. timeline: 6-8weeks Commercial use, erotic game respond by DM please With that done, Dave left the server. There were other things to do. He logged into the email server for Eastfield and checked for messages. His dean emailed with a list of classes for spring semester. Technically, she was offering the list for his approval. Yeah right. She's the dean. Yeah, He'd made full professor rank five years ago, but getting in a pissing match with the dean over class assignments was never a good idea. And she'd never given him reason to anyway. The 'check these to make sure they are right' note always elicited that rebel reaction in him. Interesting. Math department must be shorthanded. Dave had one section of college algebra in addition to two sections of physics. One of those was calc-based, the other algebra & trig based. And then a section of gen ed physical science. That had been awhile, but something he'd done before. He emailed back the list looked fine, but he'd need a copy of the texts for the math and physical science classes, and quickly, so he could start planning. Hard copies if possible. At least a looseleaf version. He tagged in a suggestion they offer an astronomy class or earth science or oceans class. Something more focused that could get the kids attention. Student interest tends to improve student scores, after all. He pointed out with a little review time, he could teach the astronomy or earth science class. If they went with an oceans class, he'd need one of the biology folks to cover the portions of the class on sea life. Ugh. College algebra had some interesting and useful tools but teaching it to a class of mostly 'why do I have to take this'? whiners could make for a demoralizing semester. Well, maybe that would be the plus side of an apocalypse. The survivors might be all that much more desirous to grow and achieve. Okay, plan with positive thoughts. Expect hungry, eager young minds. Or even hungry, eager older minds. And a little bit scared. Some more than others. Lastly, he suggested that whichever of the three they offered should have a field trip component. Now more than ever, it was important to break students out of their doldrums and really see the stuff they talked about in class. "Dave! Dave! Dave!" Becca burst through his office door. "It's on! It's coming on next! Come down!" She gave him a quick kiss on the lips and raced back out. Dave was chuckling by the time she turned around, and rising as she passed the doorframe. He joined her in the living room in short order, without running. Lupie, Liv and Mel were waiting as well. Jan and Esme came out of the library just as Dave hit the bottom of the stairs. "All of you are music video fans?" Dave asked. "Or Weird Al?" He asked with a raised eyebrow. "I'm a you fan, David," Lupie replied, "and a Becca fan. You two are so excited by this, I had to be here to watch." "You exposed me to Weird Al when I was young and impressionable. My interest in him is all your fault." Olivia observed with a smirk. "Hey, I'm just band wagoning here," Melanie chortled. Then Jan chimed in. "This is a cultural event. It would be educational for Esme," she said with a sly grin. The commercial cut away and an aural cascade of celebration sounds issued from the TV. "Hello, all you beautiful people, I'm Martha Quinn, your Video Jockey for this inaugural segment of the renewed Music Television channel. Yes, we are concentrating on music again, and, in honor of the impending Halloween holiday, we have an oldie but a goldie; Michael Jackson's 'Thriller'." The screen cut to the iconic video by the king of pop. The full version. When it ended, Quinn was back. "I get chills from that every time." Martha shook her head, smiling. "Now, with the Thanksgiving holiday not far away, our new CEO has whipped up something to make the meal; just a little extra special." Guitar chords from Eric Clapton's 'Cocaine' start playing. When you eat leftovers, And you're feeling averse, ptomaine Half the room cracked up laughing. Dave didn't hear most the rest of the lyrics, but hell, his family was laughing. And surely the song would play again. It was good to laugh. By the time they settled down, the video was over and Martha Quinn's face stared back at them. "I hope you all enjoined that as much as I did. I'll be back to host 'The '80's Hump Day Show' this evening, but until then my younger colleagues will host shows featuring current, or at least more recent, styles. Our new formatting is geared to exemplify and introduce the unique and wonderful flavors of different eras and genres. We here at MTV would like to foster greater understanding and appreciation between peoples of different generations, so please, at some point during the week, take the time to sit in with us as we cover an era or style you are unfamiliar with and get to know some of the things that make other people in your life tick." Dave couldn't shake the sense that Quinn knew about the Quaranteam serum and was trying to foster connections between partners of well separated age groups, without talking about the serum in even the slightest. Then again, the sentiment had its own value, without the serum issues. October 22, 2020. The doorbell was still an unusual sound to hear these days, even though the house no longer felt like his own pyramid. It definitely wasn't quiet at the moment. House Belsus was in the midst of a round robin Mario Cart championship. Although, this one was a warmup. Shawna wasn't here, so they'd have another contest when the whole house was present. At the moment, Mel and Olivia were frustrated with each other and Esme's otherworldly ability both in the game and playing the two off each other. As the two of them attacked the other, Esme got ahead of them both. Becca was laughing, and well ahead of all three, sailing free and clear of any competitor or trap. Until Esme got a blue shell. Just as it detonated, the doorbell sounded. "I got it!" Reena shouted, leaping to her feet and rushing for the door. Dave rose to follow, but was tackled by Becca, Liv, and Mel. Lupie began to object, since Esme was in the room, but the girls were mostly just hugging, with some kissing. Lips only, no tongue. "Hey, come on! I need to go answer the door," he protested. "Nope," Becca retorted. "Reena hasn't gotten to welcome a new lady to the house yet. And you need to make a proper first impression when she walks in; smothered in adoring women!" Dave rolled his eyes but stopped trying to wiggle free. Lupie and Jan chuckled off to the side. "I heard that from outside." said a voice carrying a tinkle of amusement. All three young ladies scrambled up so Dave could stand and face their newest sister. She stepped forward, offering her hand. "Hi, I'm Vanessa Worton. You must be Dave. You have quite the entourage here." Dave reached his hand out to accept her greeting. Champagne blonde hair; with dark roots; fell from a middle part down the sides of her face to drape a few inches down her shoulders. Round, olive green eyes stared back at Dave from a face balanced between oval and rectangular. The wide smile, with plenty of teeth showing, appeared a mix of forced and natural while her cheeks gathered into pleasant apples above and beside her mouth. Vanessa wore a tight-knit thin teal sweater under a medium beige cardigan. Light tan slacks and slip-on comfortable walking shoes in dappled white and dark grey finished her business casual look. At 5'5" she wasn't exactly short for a woman, but neither was she tall by any stretch. She appeared to be a well-kept late thirties. The skin of her face was supple, but showed signs of experience in life; not all of it positive. Vanessa chuckled. "Well, it's always ego boosting for a man to be speechless upon seeing me. Especially one surrounded by such lovely ladies already." Dave collected himself. "Would you like a seat?" When he saw her noticing the paused game, he added, "We were having a playoff. Although this is really just practice, since Shawna's at work. She'll be home in another hour and a half. That's her usual time, though depending on her shift some days could be earlier or later." "So all of you are into video games?" Vanessa said as she stepped around her large pink rolling suitcase to find a seat. "No, some of us are into video games, and some of us join in for family unity." Lupie rejoined. "I can appreciate that." Vanessa smiled back. "Family sticks together." Her smile looked slightly artificial for a moment. "I like that you all refer to each other as family, rather than a team. It sounds; cozier, comforting. And the whole dogpile thing? Very Norman Rockwell. If Rockwell painted polygamous families," she added with a wide grin. "You must be Lupie," she said approaching the Latina. "I think your letter was the most convincing, and intimidating. I almost passed over Dave so I wasn't getting in the way of, or being overshadowed by, two long term loves." Everyone but Jan, Lupie, and Becca bore puzzled looks. That's when Jan cleared her throat and spoke up. "I was contacted the end of last week to type up a short mention of my time here, my thoughts, and such. I sent that in Sunday night." "I got mine in yesterday." Lupie said. "Me too," said Becca. "It was interesting getting three uniquely different people saying slightly different things that all painted the same picture." Vanessa walked back to Dave. "You're an interesting guy David Belsus." Dave looked slightly uncomfortable by instinct, but quickly applied some of the confidence he'd been gaining or faking. "You seem to have me at a disadvantage, Ms. Worton." "Vanessa. Or preferably, Nessa. Given how; close we are going to be." She flashed him a playfully wicked smile. Dave was getting enough practice now to see beneath the surface. Under the playfully strong woman exterior was a deep current of uncertainty, even nervousness. "I have professional reasons to be here as well. I'm a realtor, so I'm involved in the re-housing project going on. If I hadn't matched to you, I would have been by to visit sometime next week, but as it is, I'd like to start that conversation now, lay out the parameters for all of you and after I wake up from imprinting we can talk about what you; well, what we want," she ended with a grin. "Sounds good," Dave replied. "Re-housing, huh? Are we really supposed to wind up with many more ladies in the house?" "I don't know any more than you've been told, really, but I've seen some families much bigger. Most seem to be heading that direction though. The metroplex - all of North Texas - got hit hard, David." She paused. "Harder than some other areas because of all the deniers. I don't know the numbers, since I'm not involved in that work, but we have a lot fewer men here. We also had a higher loss of women, but not nearly to the same degree as the increased loss of men. Only a few of the women are interested in re-locating, so families here will likely be bigger than families in California or New England; on average anyway." "That's how it's been before all this though too." "Well, yeah," she said with a chuckle. Then she cleared her throat and seemed to settle into a 'professional' facial set. "To ease the logistical load for utilities and other services, the government is encouraging folks to gather into consolidated neighborhoods or downtown living areas. They mostly want people to live in multi-use towers. Basically, skyscrapers with stores and service shops on the bottom floor or two, and residential spaces above. Each family would have one entire floor. A large family might get two floors." "I would rather not live in a high-rise." Dave kept his tone neutral and even, in a way that suggested much more passion behind the sentiment than that actually expressed. "Well that brings us to the communities being formed. Some are on cul-de-sacs with enlarged houses. And the cul-de-sacs are clustered. There are some that have semi-circle roads with houses on the outer edge and a park or shops in the middle. The smaller ones of those are also clustered." "Of course, the Las Colinas and South Lake folks already have their gated communities. They may bring a few others in to occupy a house that was already empty, or vacated by a; casualty, but mostly, they are 'keeping to their own'. I wouldn't expect you; us; to get in there." "Not sure I'd want to." That earned a few nods. "There are a variety of sizes in the midrange communities. Those also vary by amenities in the house. Some houses in the same community have different amenities, inside or outside. In fact some of the nicer communities in the midrange are; choosy, so, again, they could be hard to get into." Dave, Lupie and Liv just shrugged. "Now, generally speaking, the communities will be mixed so there is, as best as possible, a cross section of races, political views, and interests in each community. The intent is to hopefully negate the polarization we've all seen increasing over the past twenty years." All of the older members of the family nodded. Everyone old enough to watch the news knew exactly what she was talking about. "But, there will be some; themed communities. In the Mesquite area, there will be a community of multiple cul-de-sacs near a stables." "And a country bar?" asked Reena, teasingly. "Please," Dave rejoined, "Mesquite is for ropers. They wear bright colored boots and never rode a horse. They drive lift kit pickups without a single scratch in the bed. A whole community of truck balls, rattails and mullets." He paused for a second. "Actually, that's not a bad idea. I could do with never seeing another mullet or rattail." "Or a lift kit." "Or truck balls." "I'll scratch Mesquite off the list of possible destinations for this team. Um, family," Vanessa corrected. "What about Park Cities area?" Dave looked at her balefully. He started ticking off on his fingers, "I make less than six figures, I do not own a tux; and only one suit; and I have no idea what to do with my pinkie finger when drinking tea or coffee." All of the ladies giggled. "Worse," he made quote fingers in the air, "Lupie is Hispanic, Jan is Korean, and Shawna, who's at work at the moment, is black. Not exactly a picture of Park Cities demographics." Vanessa looked like she was about to object, but held off. He wasn't wrong. Changing the topic, she said, "So, all we really need right now is to think about what spaces you will want, and what spaces you will need. Do you need an office? Do any of the women need one as well? Can those be combined?" "That could wind up as an excuse to visit with you more often during the day," Mel asserted. Reena and Becca giggled. Esme hadn't left the room, so she slightly veiled her meaning. "I will need a separate office. Sometimes I just need to focus. Besides, having my own office hasn't stopped y'all from making 'visits' during the day." Lupie blushed at the implication. She wasn't the only one though, just the most recent. "But Dave, I might need some math help," Becca pleaded. Vanessa looked slightly amused while the others laughed. The tale had been shared around. "I should never have told you that story," Dave said with narrow eyes and pursed lips. Though there was a twinkle in his eye and his lips curled up at the corners. "So, something for you ladies to share with me later, I take it?" Dave threw his hands in the air theatrically. "I'm surrounded." "Well, Dave, that's how; " Liv cut herself off as she remembered Esme was still in the room. Esme rolled her eyes. "Do I need to leave?" "No, you do not." Dave replied. "We will watch ourselves. This conversation is one you should have some input on. You might not get what you ask for, but at least I'd like to hear your preferences as much as anyone else's." Vanessa nodded, looking at Lupie. "Yup, just like you said." Lupie blushed. At Dave's reaction, Nessa looked to him and added, "All good things, all good things." "Olaf!" Esme cried. "You should be Olaf for Halloween. That's next week right?! We're doing something for it, right Da- uh, Dave?" Dave did not miss what Esme almost said. If she finished the original word, he might have lost it altogether. As it was, he managed to maintain his composure. He wasn't the only one. Lupie looked ready to bust with joy. Nessa bore a knowing grin that matched the others around the room. The shaky breath he took to steady himself was all they needed to confirm the impact the verbal slip had on him. In their eyes, he could see that for some, it was the reaction they needed him to have. Well, one more proof they all matched well. His natural reactions were what they wanted. Sometimes, anyway. "I think I just ovulated." Livy muttered. "What was that?" Dave asked. "Nothing darling, nothing at all," the busty brunette replied with a mild blush. The cackling of half the room did not help deter attention. "Maybe we should just get back to the discussion topic," Dave said with a wry grin. "Esme, any thoughts?" "Adults are crazy." Vanessa and a few others laughed. Dave just stared at Esme, a slight grin on his face and one raised eyebrow. Esme giggled. "Okay, I'd like a big backyard, a pool and an indoor play space that can also be an art room." Then, with an impish smile she added, "And a pony." "Ponies do not come with a house." Dave observed wryly. "The pool idea is a good one. If there's no community pool close by, that is. I mean, having one in the backyard would be great, but so long as it's easy to get to, a shared pool will do nicely. Is that doable, Nessa?" "Absolutely. Most of the communities either have a pool space already built, or have one planned. Some of the houses have backyard pools." She cleared her throat. "Though, none of the houses have enough yard space for a horse." She winked at Esme. "But two communities are reasonably close to riding stables with lots of pastureland." Dave chuckled and shook his head. "And let's list the art, craft and play space as a want, not a need, but a really want. An indoor space like that could be very handy when the weather sucks. It could also work as a classroom. After all, you can do a lot of science with craft supplies." Esme groaned and slapped her forehead. " That's my signal to leave. Besides, I still have a geography assignment to work on. Let me know when you're ready to finish the game." She slipped out to the library. Vanessa looked at Lupie. "She's adorable." "Thank you. She's also a handful." "I can see that." Vanessa replied. "Doesn't stop me from wanting one. Not right away, I mean, but, sometime in this coming year, I want to start trying." She turned to Dave as she said this. "Is that a problem?" "No. Not at all. We haven't talked about timing or anything, but I'd like to have kids with each of you. At least, I think you all want kids. If I'm wrong, let me know." All the ladies nodded, some adding a few words to express their interest. "Timing is the issue, though. We don't want the whole house pregnant at once. And some have college to complete and careers to establish." "Anyone trying now? If it's not too personal." Lupie raised her hand. "You're family now, or soon will be. It's not too personal. We hadn't said anything yet, but we are trying." The others squealed happily and rushed to hug her. "I think the conversation just came to an end," Dave observed. "That's ok, the main need for tonight was to get you all thinking about what you want. By early next week we should get together and nail down a specific list of needs and wants." She shifted in her seat. "Speaking of which, I'd like to wait until after dinner, maybe an hour after. I'd prefer to have dinner first and give it time to settle." "That's perfectly understandable. We can talk again just before. I'll; " "I am sure of my decision. But that's ok, feel free to ask again later for your peace of mind." At Dave's puzzled look, she explained, "Lupie and Jan mentioned you would be concerned about my comfort level with this decision." Her eyes twinkled. "Your ladies know you, David. I'm looking forward to being here." Dinner was a simple, quick affair of burgers, mac n' cheese from scratch and steamed green beans. Lupie and Mel offered to make something a bit more exciting, but Vanessa insisted quicker was preferred. They smiled and got busy in the kitchen. Nessa recognized Shawna as soon as she entered the living room. She didn't fawn over the local celebrity, exactly, but it took her a minute to adjust. After dinner was a slow time of conversations in pairs and triples. Nessa spent a lot of time listening but shared a few things about herself with the family. Eventually, she gave Dave a look that he was becoming accustomed to. He rose, approached her, and offered his hand. She took his hand and rose to stand beside him. The two ascended the stairs together. Everyone watched but said nothing. There were a few grins exchanged. When they entered the bedroom and shut the door, Vanessa turned to him, pulling herself close and burying her face in his chest. Then she looked up, meeting his questioning eyes. "I want this David. I want to be a part of the family you have here. I want to be with you. I talked with the others downstairs. I know you like to take your time. This isn't your first imprinting though, so you know I won't; get there except at the priming and imprinting; surges. I'll enjoy the efforts, but don't spend too much time on it, it will just be frustrating for me. So, show me your kind, attentive side, but don't overexert yourself on it, ok? Save it for one of the others this evening." Dave stroked her back gently and kissed her forehead. Nessa raised up on her toes and kissed him full on the lips. She hummed when he responded. They took their time, reveling in the closeness. She could feel in his body the desire to give her an emotional bond before the physical one, but the serum did not permit that. Still, that he wanted to do that for her bode well for a future together. The kiss grew more intense. Hands roamed from the 'safe' areas towards the more stimulating parts of the partner's body. Dave and Nessa's breathing increased in unison. That was the best part. That the person getting you all excited was just as excited as you. The hunger in their eyes rebounded, building in power like a laser. The frantic energy powered their hands as they tore at each other's clothes. They were stripped bare in short order, at nearly the same moment. Dave put an arm around her back and began kissing her again, turning himself one quarter away and walking toward the bed. As they arrived, she crawled quickly up the bed, turning on to her back and laying her head on a pillow as she reached the headboard. Dave gazed at her as he drew himself up on the bed with Nessa. Her body was smooth and lovely, well maintained, but not young anymore. Quite alluring. Neither washboard abs nor a paunch. Smooth, medium sized tits with a natural sag, medium brown areolas a bit larger than a half-dollar coin, and nipples slightly smaller than a pencil eraser that were fully erect. Below, her bush was neatly trimmed away from her vulva, which was clearly engorged with arousal as her inner petals flowered themselves outward, her outer lips parted slightly, just barely exposing the tip of her clitoris. Her face had dropped any sense of demur acceptance. She needed him. It was time, she was his and he was hers, for this moment. Dave crawled between her legs and positioned himself over her. He lowered himself enough to make contact over much of their bodies, without resting his weight fully on her. His erection sandwiched between them. He lay soft, gentle, languorous kisses on her forehead, cheeks and lips. She hummed her approval. As his kisses proceeded down her neck to her clavicle, her breathing picked up again. Her pelvis rubbed against him, seeking what only he could give her, seeking the fullness she needed to feel. Dave kept kissing and progressing down to her tits, kissing the yielding flesh there as she began to whimper. The yearning radiated from her in palpable waves. Dave repositioned his face to Nessa's, with his hips arched over her core. She steadied her tumultuous hunger, recognizing his preparation. Dave moved slowly until the tip of his organ rested against her wet, open entrance. He thrust forward, smoothly, firmly, penetrating her depths with half of his length over the course of several seconds. Vanessa responded with a cross between a groan and a cry, clutching him tightly with her hands on his shoulder blades. He pulled back out, eliciting a brief whimper until he thrust full length into her, which earned him a moan of pleasure. Her enthusiasm brought Dave quickly to the point of leaking precum, which had the expected effect the moment the fluid made contact with her velvety interior. Dave held her through her serum induced ecstasy. As she settled, she wrapped her arms around his back and looked into his eyes. He kissed her again as he began thrusting once more. Then he lowered his lips to her ear. "You're mine now Nessa. No other man may touch you." She gasped, excited. "Mine to take care of." He felt her shuddered beneath him. "Mine to enjoy." He felt her inner muscles flex and grasp his thrusting cock. "All mine. Your heart." "Yes." "Your mind." "Yes." "Your body." "Yes." "and your will." He thrust deep, holding himself there and working his hips to strike all of her inner surfaces. "Yes! Please David, please more!" Dave began thrusting with more vigor, pounding her sex with his own. Pummeling her interior as she writhed in her enjoyment of his actions. Her hips rolled and bucked. Her hands clutched and groped on his back; and her eyes. Her eyes implored him to take her like a beast. His breathing ragged, he savaged her lower body, stoking his own fires as surely as hers. So lost he was in the primal act, he never noticed his own building arousal until he'd fired off a few spurts into her, arresting her cries of pleasure and replacing them with a primal scream and orgasmic spasms which ended with her flopping to the bed in a naked heap. "Imprinting; imprinting; imprinting ;” October 23, 2020. With the exception of Shawna, who was gone for work, the entire house devoted all of Friday to prom preparation. Lupie went to the store and picked up a few items she'd held off getting until day-of. On her return, she immediately lay into her prep work, getting the cold appetizers ready. Melanie came in to help in the early afternoon, once she had finished curating the song lists. She was the designated DJ for the evening. Becca and Reena both spent time with her a few days prior, nailing down what they wanted to listen to during dinner and dance to after. Liv and Janice were the decorating committee. They left the living room re-arrangement for last, starting that after Dave and the girls went to upstairs to dress. During the day, they set up the unused bedroom as a hotel room. It was close enough to the upstairs bathroom not to break the illusion. And it was well away from Esme's room. Esme was instructed to use the master bathroom from bedtime until after breakfast. By early afternoon, Becca and Reena retreated to the master bathroom to do their hair and nails. Reena did Becca's nails, and then her own. Once that cycle was done, she did Becca's hair and guided Becca through the steps for doing Reena's. Each girl did her own makeup, though Reena added a few touches to Becca's. Vanessa awoke by lunch time. She was tickled when Dave asked her to help out. He wanted a bit more dance practice. Dave was not a dancer. Mel and Olivia gave him some practice, about an hour or so each, on separate days earlier in the week. Those sessions went about how'd you'd expect. Started off with some innocuous club dancing, progressed into something steamy, and wound up in the horizontal mambo. On the plus side, each coed got her dose before prom night. By mutual acclamation, prom night was exclusively for Reena and Becca, and Dave reserved himself during the day as well. With Vanessa, he practiced a few more sedate dance styles, and a couple of the club moves, without the steamy stuff. She was still a bit sore from the vigor of last night. Although, she said so with a smile. Shawna took an early shift that day and arrived home shortly after Dave and Vanessa wrapped up their dance practice. Shawna first changed into an orange halter dress before taking possession of Dave, hauling him off to their tv room where his clothes were laid out. Nessa went downstairs to help Liv and Janice move the living room furniture to the borders of the room, leaving a respectable dance space in the middle. Once Dave and Shawna were both convinced his suit was laying perfectly, with no lint, and all the colors just right, they descended to the living room to wait with the others. Dave initially proposed he come to the master bedroom door and escort each girl downstairs, but they decided they would rather make their entrance on the stairwell, letting everyone, including Dave, see them as they came down. They drew straws to decide order, only to find out that Reena was drawing to go last and Becca was drawing to go first. A bit more communication would have saved them the whole drawing process and the debate on whether to draw straws or flip a coin, or rock-paper-scissors. The other ladies were dressed nice, but not prom nice. Lupie was looking lovely in her dark blue sundress with 2" (~5cm) diameter white polka dots. Mel & Liv wore 'club wear'. For Mel that meant 'liquid look' black pants and a tight white crop top showing a modest amount of midriff. For Liv it was tight jeans and a frilly blue blouse showing modest cleavage. Janice wore a red cocktail dress with her left shoulder exposed, a skirt that hugged her hips gently and fell past her knees. Nessa borro

What does it really mean to live a musical life?As we look ahead to 2026, Adam and Peter talk about music as a way of being. Not a checklist, or a finish line, or something reserved for “professionals.” They share why they believe everyone is a musician, and why taste and curiosity matter more than optimization.Whether you're a musician, or a lover of music, anyone can lead a musical life.00:00 - How to Live a Musical Life in 202607:00 - There is No Finish Line08:45 - All Humans Are Musicians19:10 - Find Your Own Taste28:00 - How We Choose Topics for You'll Hear It Play better in 2026 and beyond at Open Studio. Join today with our last BIG savings of the year at openstudiojazz.com/yhi

— Music is a remedy of the soul, a bridge between cultures, languages, and a range of emotions. Music Therapy is a clinical and evidenced-based healthcare profession that combines the power of music with skilled therapeutic interventions to address the physical, emotional, cognitive, and social needs of individuals. Through musical involvement in the therapeutic context, clients' abilities are strengthened and transferred to other areas of their lives. Music therapy also provides avenues for communication that can be helpful to those who find it difficult to express themselves in words. The expressive nature of music can bring self-awareness and insight to individuals who desire increased wellness in their lives, and can be a powerful mode of therapy for anyone interested in exploring their inner world through music. Valeria interviews Alon Yizhak  — He is a PLPC clinical counselor and a Board Certified Music Therapist MT-BC based in New Orleans, LA grounded in mindfulness, present based approaches & wisdom traditions. Alon holds a bachelor degree in Psychology from the Open University in Tel-Aviv (2008), associates degree in Music and Movement Therapy from Levinsky College of Music & Education (2012), and MA in Mindfulness Transpersonal Based Clinical Counseling from Naropa university in Boulder, CO (2025). Alon has served as student supervisor and adjunct professor teaching music therapy at Loyola University in New Orleans (2022-2024). His professional and personal focus is to enable space for growth, healing and expansion of awareness through present based approaches, creativity and genuine self-expression. Alon has worked with individuals experiencing mental health challenges, anxiety, depression, neurodiversity, substance use and life transitions.In his sessions Alon holds an integrative approach that supports people through present-based and mindfulness practices, music therapy, trauma-informed lens as well as enabling space to re-connect with inner wisdom & resourcing. To learn more about Alon Yizhak and his work, please visit: https://www.alonmusictherapy.com/

In this episode of The Bandwich Tapes, I reconnect with conductor and educator Aaron Kula, who shaped my summers in the Chautauqua Youth Orchestra at the Chautauqua Institution in New York in 1994 and 1995. We talk about what it means to trust young musicians with major repertoire, including the time we took on Stravinsky's The Rite of Spring, and what that experience taught me about preparation, accountability, and confidence. Aaron shares his philosophy for building ensemble culture: learning every student's name, holding individuals responsible while serving the collective, and making the rehearsal process both rigorous and engaging. We dig into how his multi-genre musical life, from classical training to folk and ethnic traditions, and his deep connection to Jewish music, shaped the way he hears rhythm, style, and culture inside the orchestra. Aaron also explains how conducting changes when moving from the concert stage to ballet, how tempo becomes a real-time collaboration with dancers, and why a conductor has to know when to lead, when to release, and when to stay out of the players' way. This conversation is equal parts music, mentorship, and reflection, and a reminder that the seeds teachers plant can continue to grow for decades. I'm grateful for the chance to say thank you, and for the lessons from those summers that still guide how I work with students and teams today.To learn more about Aaron, visit his website. Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Improvisation, Christmas Time Is Here, Music Education, Jazz Skills, Melodic Analysis, Harmonic Analysis, Music Practice, Jazz Checklist, Music LearningSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence guides listeners through the intricacies of jazz improvisation, focusing on the classic tune 'Christmas Time Is Here.' The discussion covers harmonic and melodic analysis, the importance of a structured approach to improvisation, and the creation of a beginner's checklist to combat information overload. Listeners are encouraged to develop their improvisation vocabulary through melodic motifs and rhythmic variations, emphasizing the joy and process of learning jazz piano.TakeawaysWeek three focuses on improving jazz improvisation skills.The tune studied this month is 'Christmas Time Is Here.'Improvisation development is crucial for jazz musicians.A clear thought process simplifies music conceptually.The seven musical facts guide our approach to music.A beginner's checklist can help manage information overload.Melody is the starting point for improvisation.Rhythm and feel are foundational to playing music.Great solos are built from simple, developed ideas.Joy and curiosity are essential for progress in jazz.TitlesMastering Jazz Piano: Christmas Time Is HereImprovisation Essentials for Jazz MusiciansSound bites"We focus on improvisation development.""Improvisation begins with the melody.""Joy fuels progress in music."Support the show

As NAMM approaches its 125th year, the conversation around The NAMM Show 2026 centers less on products alone and more on the people, relationships, and creative energy that sustain the music industry. In this episode, John Mlynczak, President and CEO of NAMM, joins Sean Martin and Marco Ciappelli to frame the upcoming show as a moment shaped by resilience, adaptation, and shared purpose.Mlynczak positions NAMM's history as a long record of responding to disruption. Musical genres shift. Technologies rise and fall. Companies appear and disappear. Music itself remains. That continuity shapes how NAMM views its role today, particularly amid global trade pressures and ongoing debates around AI in music creation. These pressures are not framed as endpoints, but as forces the industry has encountered many times before, each eventually reshaped into opportunity.A major theme is the renewed emphasis on human connection. While innovation remains central, differentiation increasingly comes through artists, creators, and authentic storytelling. Product launches are no longer just technical showcases. They are expressions of identity, collaboration, and trust between musicians and the tools they choose. According to Mlynczak, this shift is driving a larger presence of artists and creators at The NAMM Show 2026, reinforcing the idea that brands are ultimately represented by people, not specifications.Education also plays a defining role. With more than 200 sessions planned, alongside new half-day and full-day summits, The NAMM Show 2026 expands its commitment to learning across experience levels and professional communities. Retailers, educators, engineers, marketers, and performers each have distinct paths through the show, designed intentionally rather than left to chance. Data-driven planning allows NAMM to understand how attendees engage, enabling more tailored experiences now and in the years ahead.Underlying it all is energy. Not hype, but momentum built through in-person connection. The NAMM Show is described as a space where competitors share ideas, musicians find inspiration, and creativity compounds simply by being present. For those who attend, The NAMM Show 2026 serves as a springboard into the year ahead, shaped by music's enduring ability to connect, adapt, and move people forward.The NAMM Show 2026 is taking place from January 20-24, 2026 | Anaheim Convention Center • Southern California — Coverage provided by ITSPmagazine — Follow our coverage: https://www.itspmagazine.com/cybersecurity-technology-society-events/the-namm-show-2026GUEST:Guest: John Mlynczak, President and CEO of NAMM | View Website | Visit NAMMHOSTS:Sean Martin, Co-Founder, ITSPmagazine and Studio C60 | Website: https://www.seanmartin.comMarco Ciappelli, Co-Founder, ITSPmagazine and Studio C60 | Website: https://www.marcociappelli.comNAMM Organization: https://www.namm.org/The NAMM Show 2026: https://www.namm.org/thenammshow/attendCatch more stories from NAMM Show 2026 coverage: https://www.itspmagazine.com/cybersecurity-technology-society-events/the-namm-show-2026Music Evolves: Sonic Frontiers Newsletter | https://www.linkedin.com/newsletters/7290890771828719616/More from Marco Ciappelli on Redefining Society and Technology Podcast: https://redefiningsocietyandtechnologypodcast.com/Want to share an Event Briefing as part of our event coverage? Learn More

Could this be peak Frank? Sinatra at the Sands captures the energy, the cool, and the incredible voice that made this crooner so iconic. Backed by the Count Basie Orchestra with arrangements by a young Quincy Jones, this live album still swings 60 years later!Sinatra at the Sands was recorded at a moment when Sinatra was emerging from a slump. Rock and roll dominated the airwaves, the Beatles were redefining popular music and crooning just wasn't cool anymore. But this album, recorded live in Vegas, shows a 50-year-old Frank sounding loose, confident, and completely at home in front of a band that swings like nothing else. Listen with us as we break down and react to the best of this swingin' album.Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://osjazz.link/yhi   00:00 - Intro Jam: Fly Me To the Moon01:35 - The Sinatra-Basie Episode!03:45 - Is This Peak Frank?05:45 - The Mid-60s Culture Shift07:45 - "Come Fly With Me" 12:00 - The Quincy Influence14:45 - "I've Got You Under My Skin"17:30 - What To Listen For22:30 - "The Shadow of Your Smile"26:20 - Freddie Green's "Chunking" Technique28:15 - Sinatra's Vocal Gift33:30 - "Street of Dreams"35:50 - "One For My Baby (And One More for the Road)"38:40 - "Fly Me To the Moon"45:00 - "One O'Clock Jump"49:50 - Desert Island Tracks54:05 - Apex Moments59:05 - Categories1:03:20 - Coming Up Next Week

In Episode 89, Brennan is joined by Broadway's Russell Daniels as they talk about his journey from a degree in Music Education to being Josh Gad's standby in Gutenberg on Broadway! From sketch comedy, to hit parody shows, to Broadway itself, Russell has made a name for himself as one of the best comedic actors in the biz, and has a lot of wisdom to share of how he did it!Support the showHost/ Production/ Editing: Brennan StefanikMusic: Dylan KaufmanGraphic Design: Jordan Vongsithi@batobroadway on Instagram, Threads, and TikTokPatreon.com/batobroadway

In this episode, I talk with legendary timpanist, educator, and musical pioneer Jonathan Haas. Jonathan's journey weaves together St. Louis, Chicago, New York, Juilliard, Frank Zappa, Emerson Lake & Palmer, Philip Glass, and a powerful new project responding to the world we live in today.Jonathan tells the story of how a newspaper clipping from his mom led him to Washington University, where he studied with Rich O'Donnell, John Kasica, Tom Stubbs, and Rick Holmes—often taking four private lessons a week while subbing with the St. Louis Symphony.From there, he describes:Heading to Juilliard to study with Saul GoodmanSubbing with the New York PhilharmonicAuditioning for and touring with Emerson, Lake & Palmer (including opening Bolero in front of 50,000 people at Soldier Field!)A 20-year relationship and collaboration with Frank Zappa, sparked by a handwritten letterThe long road to commissioning the Philip Glass Double Timpani Concerto and why it had to become a double concertoHis work at NYU, including powerful new pieces by Lenny White and Tim Adams, connected to Black Lives Matter and the murder of George FloydJonathan is a phenomenal storyteller, and the combination of history, humor, honesty, and perspective makes this one of the most compelling conversations I've had.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with bassist, producer, educator, and longtime Bacon Brothers collaborator Paul Guzzone. Paul and I first met backstage in Atlanta years ago when my band opened for the Bacon Brothers, and we bonded instantly over Aguilar rigs and the first U-Bass I had ever played.What starts as a fun reconnection becomes a deep exploration of Paul's multifaceted life in music. We talk about his early years with Tom Rush, his decades-long collaboration with Kevin and Michael Bacon, his extensive composing and jingle work, and his long career teaching Rock and Contemporary Culture at Pace University.Paul's warmth, humor, and decades of perspective make this a truly special conversation.To learn more about Paul, visit his website. Music from the Episode:Dance While I Can (Paul Guzzone)South of the Coconut Line (Paul Guzzone)All I Ever Wanted to Do (Paul Guzzone)Extra Innings (Paul Guzzone)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Cecilia Rowe, The Music Studio Atlanta, on Music Education and Opening a Third Location in Johns Creek (North Fulton Business Radio, Episode 917) North Fulton Business Radio host John Ray welcomes Cecilia Rowe, CEO of The Music Studio Atlanta, one of Georgia’s largest privately owned music schools, serving more than 1,500 students across Metro Atlanta. […]

Cecilia Rowe, The Music Studio Atlanta, on Music Education and Opening a Third Location in Johns Creek (North Fulton Business Radio, Episode 917) North Fulton Business Radio host John Ray welcomes Cecilia Rowe, CEO of The Music Studio Atlanta, one of Georgia’s largest privately owned music schools, serving more than 1,500 students across Metro Atlanta. […]

There are some fascinating philosophical divides in Music Education. And we don’t discuss them enough. What does “inclusive” music education really look like? Shane Colqohoun is an instrumental music educator who possesses a rare super power. He can recognize areas where he both agrees AND disagrees with the philosophies of others, and is not scared … Continue reading "Episode 268: More Music for More Students with Shane Colquhoun"

Karl Schagerl is a leading figure in the world of instrument making since he joined his family's business in 1976. Based in Mank, Austria, Karl has worked and collaborated with a long list of world-class artists, a few of which include Hans and Thomas Gansch, James Morrison, Gabor Tarkovi, and Selina Ott.Dr. Jack Burt, is a distinguished professor of trumpet and performing artist who has contributed extensively to the trumpet community, both as an educator and a performer. Jack's connection to Karl began with a chance introduction through mutual musical interests, leading to a lasting collaboration.In this conversation, we'll explore the fascinating story of how Karl and Jack first connected, sparked by a shared love for Austrian folk flugelhorn duets and a chance recommendation from jazz legend Peter Erskine. Jack talks about how he first reached out to Karl for some music and CDs, which eventually led to their meeting at a brass concert years later. Karl shares how this initial interaction grew into a professional friendship with plenty of stories and impactful insights along the way.[Subscriber Content] In the remainder of the discussion, Karl reveals more about the business side of Schagerl Instruments, discussing their global outreach and how they've continued to innovate in response to evolving musical demands.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

On December 1, 2024, as Ashtabula Area City Schools educators and students were out on Thanksgiving break, five and a half feet of snow covered Lakeside High School, causing the roof to collapse. One year later, the Lakeside school community is still waiting for a path forward to begin rebuilding. As the Thanksgiving break approaches again, Lakeside educators are sharing their stories about managing the challenges of serving their students in these difficult circumstances and about the support they've received to stay Lakeside Strong.WATCH | Click here to watch the powerful Lakeside Strong Documentary, created by Lakeside High School students in spring 2025. And, check back on these shownotes in the next couple of weeks for the link to watch OEA's Ohio School Spotlight video from a visit to Lakeside High School - still in ruins - and Lakeside students and staff - still spread out across four buildings in the district - as the one year anniversary of the roof collapse approached.THE LATEST | After a bond issue on the November 2025 ballot to rebuild Lakeside High School did not pass, Ashtabula Area City Schools Superintendent told the Star Beacon the district will continue to pursue avenues to get students back into the high school as soon as possible.  Separately, AACS filed a lawsuit against Liberty Mutual Insurance over its refusal to pay claims for repairs. SUBSCRIBE | Click here to subscribe to Public Education Matters on Apple Podcasts or click here to listen on Spotify so you don't miss a thing. You can also find Public Education Matters on many other platforms. Click here for some of those links so you can listen anywhere. And don't forget you can listen to all of the previous episodes anytime on your favorite podcast platform, or by clicking here.Featured Public Education Matters guests: Maureen Surbella, Ashtabula Area Teachers Association PresidentMaureen A. Surbella is a seasoned educator, coach, and leader with more than 30 years of experience in teaching and community involvement. She holds a Bachelor's in Elementary Education from Walsh University and a Master's in Effective Teaching from Lake Erie College. Currently, Maureen serves as a Title 1 Teacher and the District Communication/PR Liaison for Ashtabula Area City Schools, where she is committed to improving student outcomes and fostering positive communication between the district and the community.Alongside her teaching role, Maureen has been the Head Swim Coach at Ashtabula Area City Schools since 2011, and has also coached tennis and volleyball. Recently, Maureen was elected as the President of the Ashtabula Area Teachers Association, where she works to support and advocate for the district's educators. Maureen's extensive experience in education and athletics, combined with her leadership and communication skills, make her a well-rounded advocate for both students and teachers. She is a member of several professional organizations, including the National Education Association and the Ohio High School Coaches Association.Tyler Wilber, Ashtabula Area Teachers Association memberTyler Wilber is proud to teach at Lakeside High School, the same district where he graduated. With over 25 years of experience in Ashtabula Area City Schools, he has dedicated his career to helping students learn, grow, and reach their potential. He currently teaches American History, Geography, and Esports & Gaming. In addition to the classroom, he serves as one of the Building Technology Representatives and the Building Testing Coordinator, supporting both staff and students. He also enjoys coaching as the Assistant Boys Golf Coach and has previously coached football and track & field. As a proud product of the Ashtabula school system, Wilber takes great pride in giving back to his community and inspiring the next generation of students.Jostalyn Krider, Ashtabula Area Teachers Association memberJostalyn Krider is in her sixteenth year of teaching mathematics at Lakeside High School in Ashtabula, Ohio. She currently teaches Algebra 2 Honors, Algebra 2 College Prep, AP Calculus, and Drone Technology. In addition to her classroom duties, Mrs. Krider serves as Co-Chair of the Mathematics Department and advises the Robotics Club.She is dedicated to helping students connect mathematics to real-world applications through technology and innovation. Her integration of STEM concepts—especially in drone technology and robotics—reflects her commitment to preparing students for success in a rapidly evolving, technology-driven world. Mrs. Krider is recognized for her leadership, collaboration, and passion for inspiring curiosity and problem-solving in her students.David Roth, Ashtabula Area Teachers Association memberDavid P. Roth has been educating Future Musicians for over 30 years, having taught in Wyoming, Florida, and Ohio. He holds a Bachelor's in Music Education from Kent State University and a Master's in Music Education from The University Of Akron. Currently, David is the Instrumental Music Director at Lakeside High School and Erie Intermediate School, teaching Band and Orchestra to 5th and 6th Graders, and Band, Orchestra, and Jazz to 9th through 12 Grade Students. Through a solid educational foundation, and memorable and enriching performances, Mr. Roth continues to guide Lakeside's Young Musicians to constantly push and improve themselves, while learning more about the world and the World of Music.In addition to his teaching roles, David has been the Advisor for the school's Tri-M Music Honor Society (8 Years), National Honor Society (6 Years), and Key Club (3 Years), as well as a Past Membership Chair and current Building Representative for the Ashtabula Area City Schools. David is also an active member of the National Association for Music Education, the Ohio Music Education Association (where he serves as Webmaster for District 5), the American School Band Directors Association, and Life Member of Kappa Kappa Psi National Honor Band Fraternity. Recently, Mr. Roth was nominated for and selected as a Quarter-Finalist for the Grammy Music Educator Award in 2024.Douglas Wetherholt, Lakeside High School PrincipalWith more than 33 years experience in education, Doug Wetherholt has had the privilege of serving as a principal for the past 17 years. Wetherholt is a proud graduate of Ashtabula High School, where his passion for education was ignited. He pursued his Bachelor's degree at Kent State University, and later, earned his Master's degree from Youngstown State University. These educational milestones have been instrumental in shaping his educational philosophy and approach to leadership. At Lakeside High School, W...

This week on the New Music Business podcast, Ari sits down with acclaimed pianist and composer, Chloe Flower. Born in Pennsylvania, Chloe began playing piano at age two, later studying at the Manhattan School of Music Pre-College and London's Royal Academy of Music. A classically trained pianist turned genre-bender, she calls her unique style “popsical” (a fusion of classical, pop, and hip-hop). She has collaborated with major artists like Céline Dion, Babyface, Nas, and Cardi B (whose 2019 Grammy performance she helped elevate). Beyond music, Chloe is a passionate advocate for music education and anti-human trafficking efforts.In this episode, Ari and Chloe dive into her artistic journey. They discuss everything from rigorous classical training to creating a hybrid genre that seemed nonexistent before her. Chloe explains how she navigates the music business, and the lessons she's learned from bridging two very distinct worlds. Ari and Chloe talk about label strategy, collaboration with big-name artists and producers, and maintaining authenticity while scaling. Chloe shares her approach to building a personal brand (both musically and visually), her perspective on empowering women in the industry, and how she sees the future of genre-fluid music and education. https://www.instagram.com/misschloeflower05:00 – The Holiday Album and Women Composers10:30 – Understanding Public Domain and Classical Music Rights15:45 – YouTube Covers, Metadata, and Going Independent19:00 – Meeting Babyface and Blending Genres25:00 – The Viral Grammy Performance with Cardi B29:30 – Evolving Sound and the Role of Collaboration33:00 – Running an Independent Label and Revenue Streams36:00 – Pros and Cons of Major vs. Indie Labels47:00 – Music Education and Inspiring the Next Generation54:00 – Performing with Orchestras and ConductorsEdited and mixed by Peter SchruppMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Christopher Ramos is currently serving as Director of Bands and Assistant Professor of Music at Utah Valley University in Orem, Utah. He conducts the UVU Wind Symphony and directs instrumental studies within the music education area. He additionally teaches courses in conducting, music education, and music appreciation. He received the DMA in instrumental conducting at The Hartt School, studying with Glen Adsit and Edward Cumming. While at Hartt, he assisted in conducting Hartt's instrumental performing ensembles and the Greater Hartford Youth Wind Ensemble, and as part of the adjunct faculty he taught courses for graduates and undergraduates in conducting, brass methods, diversity and belonging, jazz pedagogy, and in the core music theory sequence. Before Hartt, Chris served as a band director at Dalat International School in Penang, Malaysia where he taught Western classical and jazz music in performing and theory courses across grades 6-12, and his students were invited to perform in international festivals across Southeast Asia. He is also an active scholar working at the intersection of musicology, wind band studies, and music education with his latest publications forthcoming in the Music Educators Journal (NAfME) and the Utah Music Educators Journal (UMEA). In 2022 he received the Goldstein Award from the University of Hartford, and in 2016 he received the Joanne Kealinohomoku Prize from the Society of Ethnomusicology Southwest for his scholarship. He holds additional degrees from the University of New Mexico where he studied with Eric Rombach-Kendall, and from East Texas A&M University (formerly Texas A&M University-Commerce) where he studied with Phillip Clements (conducting), Luis Sanchez (piano), and Mike Morrow (horn). In addition to his conducting, researching, and teaching, he actively performs both on the French horn and at the keyboard. He has produced, performed, and conducted on records for the Naxos, Summit, and Parma record labels, and he has performed in and conducted ensembles in concert halls, stages, forests, and patios across the United States and Asia. An avid supporter of new music, he has been part of numerous commissioning projects for solo horn, chamber ensembles, and wind ensembles. He is a second-place winner in The American Prize for conducting and in 2025-27 he holds the Harry Begian Conductor Scholar Award at Blue Lake Fine Arts Camp. He is an active member in the College Band Directors National Association, Utah Music Educators Association, Utah Bandmasters Association, National Band Association, American Musicological Society, and National Association for Music Education, and is an honorary member of the Phi Mu Alpha Sinfonia National Music Fraternity.