Podcasts about Perlman

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1==================================================== DEVOCIÓN MATUTINA PARA JÓVENES 2025“HOY ES TENDENCIA”Narrado por: Daniel RamosDesde: Connecticut, USAUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church===================|| www.drministries.org ||===================18 de NoviembreCon lo que queda"¿Qué tienes en la mano?" -preguntó el Señor. "Una vara" -respondió Moisés. Éxodo 4: 2, NVIEl famoso violinista israelí-estadounidense Itzhak Perlman subió al escenario el 18 de noviembre de 1995 para iniciar su concierto en el Lincoln Hall, en Nueva York. La escena ya era familiar para sus seguidores. Perlman había contraído polio a los cuatro años, por lo que cada vez que comenzaba un concierto, se le veía aproximarse a una silla con la ayuda de soportes para las piernas y muletas. Una vez sentado, colocaba las muletas a un lado, se desprendía de los soportes, recogía su violín y comenzaba a tocar. Sin embargo, aquella noche algo salió mal.Al finalizar la introducción de una de sus piezas, se escuchó el inconfundible sonido de una de las cuerdas de su violín al romperse. El público esperaba ver al virtuoso violinista, colocarse los soportes y salir del escenario para buscar otro violín o reemplazar la cuerda rota. Sin embargo, para sorpresa de todos, Perlman le indicó al conductor que iniciara de nuevo. La orquesta comenzó y Perlman continuó tocando desde donde se había quedado. Se sabe que no se puede interpretar una pieza sinfónica con solo tres cuerdas, pero esa noche Itzhak Perlman se negó a aceptar este hecho. La audiencia observó cómo recompuso la pieza, cambiando los arreglos y la cadencia, modulando y sacando sonidos que parecían no existir hasta ese momento. Al finalizar, el público estalló en aplausos.Instantes después, Perlman levantó su arco en señal de silencio y dijo calmadamente: «¿Saben? A veces es tarea del músico descubrir cuánta música puede hacer con lo que queda». Estas palabras encierran un grandioso significado. Tú y yo somos instrumentos imperfectos, violines de tres cuerdas, en las manos del Violinista divino. La historia bíblica relata que Noé se emborrachó, Abraham era muy viejo, Sara se rio de Dios, Jacob era mentiroso, Ana era estéril, Sansón era mujeriego, David era un asesino, Elías tenía tendencias suicidas, Job quedó en bancarrota y Noemí era viuda, Jonás huyó de Dios, Pedro negó a Cristo, Eutico se durmió en la iglesia, Pablo era muy religioso, Timoteo era muy joven, Tomás era incrédulo, Zaqueo era muy bajo ¡y Lázaro llevaba cuatro días muerto! Sin embargo, Dios fue capaz de «tocar» las melodías más milagrosas e inspiradoras con esos instrumentos rotos. Ese mismo Dios puede utilizarte hoy; puede convertir tu vida en una hermosa sinfonía. Incluso cuando comiences con solo cuatro cuerdas y enfrentes adversidades, él puede crear hermosas melodías con lo que queda». 

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

She's not the only one. Plenty of us are wedded to the artificially sweet nectar of Diet Coke. There's new data as to what it is that draws us in. Tracy Perlman joins Jason for her weekly visit where they tackle that topic and much more! (Photo illustration by Spencer Platt/Getty Images)

Wednesday 3pm Hour: Jason talks about today's Epstein email leaks and the impending release of the files. Why is this so difficult?! Then Tracy Perlman joins the show for her weekly visit - why are we so hooked on Diet Coke? (Photo by Win McNamee/Getty Images)

durée : 00:25:21 - Itzhak Perlman, violoniste (1/5) - par : Judith Chaine - Véritable légende vivante du violon, Itzhak Perlman n'avait pourtant pas un parcours tout tracé : ses parents n'étaient pas musiciens et la poliomyélite l'obligea à user de béquilles toute sa vie. Fasciné par Jascha Heifetz, il montre dès l'enfance des dons et passe des heures sur son instrument. - réalisé par : Adrien Roch Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:07 - Itzhak Perlman, violoniste (2/5) - par : Judith Chaine - Prodige en son pays, Itzhak Perlman nous raconte la naissance de son rêve américain. Invité de l'émission Ed Sullivan Show alors qu'il n'a que treize ans, le violoniste est révélé aux yeux de millions d'américains, qu'il va rejoindre dès sa majorité pour entrer à la Juilliard School. - réalisé par : Adrien Roch Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:10 - Itzhak Perlman, violoniste (3/5) - par : Judith Chaine - Après avoir débarqué à la Juilliard School de New York, Itzhak Perlman nous raconte comment il a découvert les idoles de ses disques fétiches en concerts : Yehudi Menuhin, David Oïstrakh, Zino Francescatti et surtout Jascha Heifetz. - réalisé par : Adrien Roch Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:01 - Itzhak Perlman, violoniste (4/5) - par : Judith Chaine - Après nous avoir conté sa jeunesse, Itzhak Perlman évoque sa vie de star du violon, entre rapport au public, prestigieux collègues de musique chambre et expérimentations hors du répertoire classique. - réalisé par : Adrien Roch Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:24:56 - Itzhak Perlman, violoniste (5/5) - par : Judith Chaine - Avec l'âge, les objectifs d'Itzhak Perlman ont nécessairement évolué. Il nous raconte la place que prend la pédagogie dans sa vie aujourd'hui et comment sa manière d'envisager la musique s'est transformée avec le temps. - réalisé par : Adrien Roch Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

3pm Hour: Jason talks to the newly elected Mayor of Minnesota's capitol city - Kaohly Her. Then - what's your one-sentence takeaway from the election. And Tracy Perlman joins the show for her weekly visit - when's the last time she spontaneously went to a concert? And what's her favorite donut on National Donut Day!

For Jess Perlman, facilitating conversations with the beyond is a form of spiritual charades. This week, she joins Mo to discuss what it's like to practice as a full-time psychic medium, why she treats this work like any other artistry, and what we can all stand to learn by releasing ourselves from the world of form. Jess is on Instagram @jess_perlman. You can learn more about her work at tothehollow.com. Worse Than You with Mo Fry Pasic is hosted and produced by ⁠Mo Fry Pasic⁠. Our executive producers are Erica Getto, Myrriah Gossett, and Lauren Mandel. We're on ⁠Instagram⁠ and ⁠TikTok⁠ @worsethanyoushow, and you can follow Good Get on ⁠YouTube⁠ for exclusive video content. Worse Than You with Mo Fry Pasic is a ⁠Good Get⁠ and ⁠Disco Nap⁠ Co-Production. Want more from Good Get? Check out ⁠One of Us with Fin and Chris⁠ and ⁠Drag Her! with Mano Agapion and Oscar Montoya⁠. For more from Disco Nap, listen to ⁠My Favorite Lyrics with Devon Walker⁠! Learn more about your ad choices. Visit podcastchoices.com/adchoices

You don't need to know how. You just need to say yes. Melissa Perlman didn't have construction experience, speak Spanish, or a detailed business plan when she moved to Tulum after 9/11. She had a spark. A vision. And the courage to follow breadcrumbs instead of blueprints. That spark became Amansala, one of Tulum's most iconic wellness destinations. Genea and Melissa dive into:

In this lively bonus episode of Next Question with Katie Couric, mentalist Oz Perlman—known for dazzling crowds on America’s Got Talent —reveals how mastering human behavior can transform your personal and professional life. Drawing from his new book, Read Your Mind: Proven Habits for Success from the World’s Greatest Mentalist, Oz shares actionable advice on reading people, building connections, and embracing resilience. From running ultra-marathons to predicting football plays, he blends performance with psychology to show how understanding others can unlock your potential. It’s part life advice, part mind-reading—completely fascinating.See omnystudio.com/listener for privacy information.

Jason is joined by friend-of-the-show, Tracy Perlman, to talk about the Maroon 5 concert at Grand Casino Arena, the top word added to Dictionary.com, and her favorite Halloween costume.

3pm Hour: Jason talks about the best and worst times to wake up in the middle of the night. Then he talks with Dusty Letica, Deputy Director of Public Health and Human Services, St. Louis County, about how the federal government shutdown may impact greater MN. And why does Tracy Perlman hate 67 but love Halloween?

BASE jumping in national parks is illegal, but with the federal government shut down, some thrillseekers are taking advantage of the situation. CBS News' Carter Evans explains. California Gov. Gavin Newsom told Robert Costa in a "CBS Sunday Morning" exclusive interview that he'll consider a 2028 White House bid. Costa joins "CBS Mornings" to discuss what Newsom said will guide his decision and who else could enter the Democratic race. Writer and filmmaker Cameron Crowe joins "CBS Mornings" to talk about his new memoir, "The Uncool," where he reveals the true stories behind his classic film, "Almost Famous," and his early days interviewing legends like Led Zeppelin, David Bowie, and the Allman Brothers. In this week's "Dear David," CBS News contributor David Begnaud shares two powerful stories of love: Jerome and Agnes Bourgeois of Houston, marking 66 years of marriage through song, and 9-year-old Nora Vaughn of Louisiana, spreading laughter to raise money for her sister with Rett syndrome. World-renowned mentalist Oz Perlman joins "CBS Mornings" for his first live TV interview about his new book, "Read Your Mind: Proven Habits for Success from the World's Greatest Mentalist." He shares how techniques used to read people can also unlock personal and professional potential. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

On this episode of Ending Domestic Abuse, I interview the remarkable Dr. Ron Perlman. With October being Domestic Violence Awareness Month, it is imperative to be having conversations about the reality of Domestic Violence in the United States. Recently, cases of domestic violence have been increasing across the country. As an accomplished plastic and reconstructive surgeon, Dr. Perlman has worked directly with survivors of abuse to ensure they feel comfortable and confident in their bodies after getting out of abusive relationships. Join us for this very important  and enlightening conversation! 

It's officially fall, and that means we're deep into the MLB playoffs, and the NHL, NFL and NBA seasons are in full swing. With it being such an exciting time for professional sports, we thought it'd be an opportune moment to revisit an episode we recorded in April, where Doug Perlman, CEO of Sports Media Advisors, demystifies the complex process of negotiating league media rights. We hope you enjoy this fascinating look into the evolution of sports media licensing in a post-cable world.  Summary: Major sporting events used to be clustered among a handful of TV channels. Now following your favourite team might require subscriptions to a whole litany of cable and streaming services. Which is to say nothing of all the licensed content you'll find spread out across social media platforms. In such a complex media ecosystem, how do organizations even begin to think about licensing their media assets? And how do they calculate their worth?Doug Perlman is the founder and CEO of Sports Media Advisors. SMA advises sports properties on their media strategies and rights negotiations. Doug has negotiated tens of billions of dollars in rights fees for some of the largest sports properties in the world, including the NFL, NASCAR, US Soccer, and the Ryder Cup, among others. Doug joins us today to discuss recent trends like the rise of streaming, the popularization of sports betting, and the emergence of AI, and all the unique challenges and opportunities they present for different leagues and organizations.Highlights:Doug's early career (3:00)Working for the NHL (4:40)Founding SMA (7:53)SMA's services (9:31)Negotiating rights deals (13:55)Cord-cutting (17:16)Impact of sports betting (18:35)Women's sports (19:37)AI in sports (20:58)Advice for young people trying to work in sports (26:12)Links:Doug Perlman LinkedInSMA LinkedInSMA WebsiteICR LinkedInICR TwitterICR WebsiteFeedback:If you have questions about the show, or have a topic in mind you'd like discussed in future episodes, email our producer, joe@lowerstreet.co.

Blois Olson is in for Jason. He's joined by friend-of-the-show Tracy Perlman for her regular visit. A new study says 1-in-4 workers haven't taken a vacation day in the last year. Do we take enough? Plus - is Anoka's title as the Halloween capitol in trouble?

3pm Hour: Blois Olson is in for Jason. He talks about today's Minnesota Supreme Court ruling on transgender athletes - is there a 3rd way to "solve" this debate? Then Tracy Perlman joins the show for her weekly visit - 1 in 4 workers say they haven't taken a vacation day in the last year?!

Adam Carter is in for Jason. He talks with friend-of-the-show Tracy Perlman about why local media obsesses over MEA weekend, why people enjoy being scared so much, and could 60 seconds rescue your relationship?

3pm Hour: Adam Carter is in for Jason. He talks about the use of a curfew to reduce violent crime in Mississippi and if that could be a useful tool in Minneapolis. Then Tracy Perlman joins the show for her weekly visit discussing MEA weekend and the "science" of being scared.

Greg Perlman is one of America's most successful and generous real estate investors. Founder of multiple ventures and one of the largest affordable housing portfolios in the U.S., he built a $2.5 billion empire with over 25,000 apartments nationwide. After decades of building wealth through Section 8 housing, he made a rare decision — to give away 75% of his fortune. In this episode, Greg shares how he turned government programs into billion-dollar opportunities, stayed grounded while making billions, and why he believes true success isn't about how much you make, but how much you give.Hosted by Ausha. See ausha.co/privacy-policy for more information.

Jeff Perlman on Tupac's Last Days His Time in jail Untold Stories + More WCGW Episode:66

Are you capturing the real heart of your culture—or hiding behind polished posts? This week, Nicole Greer sits down with Corey Perlman, bestselling author of Authentically Social and founder of Impact Social Media. Together they explore how leaders, HR pros, and entrepreneurs can use social media to showcase the humans behind the brand, attract top talent, and authentically engage customers.Corey shares his proven framework—five practical principles to help you stop chasing algorithms and start building community. From his “capture instead of create” mantra to his reminder that “the algorithms favor the bold,” you'll learn how to humanize your brand, build belonging, and make your culture visible to the world.Nicole and Corey swap vibrant stories—from bandanas and drum circles to hinge videos that went viral—and prove that authenticity, humor, and humanity are your greatest marketing tools.Vibrant Highlights:[00:04:00] Authentically Human: Corey explains how showcasing the “faces, voices, and stories that breathe life into your brand” builds community and culture.[00:08:20] The Shiny Penny Syndrome: Focus your energy—don't chase every new platform; master the one where your audience lives.[00:25:00] Talk About Baristas, Not Coffee: Humanize your brand by spotlighting your people, not just your products.[00:29:40] More Funny, More Money: Why humor and lighthearted content can make your culture magnetic.[00:32:30] Be Down with OPP (Other People's Posts): Engage, comment, and share—because every digital high-five fuels your culture and reach.Connect with Corey:Corey's book: https://a.co/d/9uKfmhBCorey's speaking website: https://coreyperlman.com/Corey's business website: https://impactsocialmedia.com/LinkedIn (personal): https://www.linkedin.com/in/coreyperlman/LinkedIn (business): https://www.linkedin.com/company/impactsocialmedia/FB: https://www.facebook.com/coreyperlmanIG: https://www.instagram.com/coreyperlmanspeaks/X: https://www.X.com/CoreyPerlmanListen at vibrantculture.com/podcast or wherever you listen to podcasts!Learn more about Nicole Greer, The Vibrant Coach, at vibrantculture.com.

“ Don't be a jack of all social media sites, master of none.” Host Laurie Barkman interviews digital marketing expert Corey Perlman of Impact Social. They discuss Corey's entrepreneurial journey influenced by his parents' careers, the evolving landscape of digital marketing, and the role and potential of AI in the industry. Corey shares insights on building and managing successful teams, the importance of focusing on key social media platforms, and the power of video content. Additionally, he touches on his passion for Brazilian Jiu Jitsu and his involvement in the Nurturing Fathers Program alongside his father, Mark. Listeners receive actionable digital marketing tips and inspiration for balancing entrepreneurship with personal purpose.   Takeaways: Pay attention to what the market is asking for. Follow positive signals when exploring new business opportunities or services instead of pushing an idea that isn't gaining traction. Prioritize platforms that align with your target demographics instead of attempting to be active on all social media platforms. Focus on a few and do them exceptionally well. Focus on the emotional and cultural fit of potential team members rather than just their resume. Enthusiasm, a positive attitude, and a good cultural fit can often outweigh experience. Stay open to learning and adapting over time. The industry changes rapidly, and keeping updated with new tools and practices will help you and your business stay competitive.   Quote of the Show: “ Don't be a jack of all social media sites, master of none.” - Corey Perlman   This Show Is Sponsored by The Business Transition Sherpa® 100 percent of owners will leave their business one day. But few are prepared. Are you? Get your copy of the Amazon best-selling book by nationally recognized expert, Laurie Barkman that reveals how to build business value and plan for succession, transition, or selling the business on your terms....what every entrepreneur needs to know.  ✨

Jason is joined by friend-of-the-show Tracy Perlman for her weekly appearance. They talked about home smart devices and just how human they're starting to sound. Plus, if you moved out of the country where would you want to live?

3pm Hour: Jason talks about his frustration with not having better options at the ballot box and wonders if term limits would help? Then he's joined by Tracy Perlman to talk about smart home devices sounding more human every day.

Jason is joined by Tracy Perlman for her weekly visit. They talked about Toys R Us coming back - what store do they miss? And is a couple better off in a Queen-sized bed rather than a King?

3pm Hour: Jason talks about negotiations over a special session. Is it worth it without a gun vote? Then Tracy Perlman joins for her weekly visit. Toys R Us is back... what other stores would she like to see return?

3pm Hour: Jason talks about an announcement today from the Hennepin County Attorney - bad timing? Then our friend Tracy Perlman joins the show to talk about a poll that says Americans don't like to speak ill of the dead - is that fair?

My guest today is Elaine Perlman, an altruistic kidney donor, President of the Coalition to Modify NOTA, and Executive Director of Waitlist Zero. She is leading campaigns to pass the End Kidney Deaths Act (which is the subject of our discussion today) and the Honor Our Living Donors Act.As a bit of background, the End Kidney Deaths Act (H.R. 2687/ EKDA) is a ten year pilot program that would provide a refundable tax credit of $10,000 each year for five years ($50,000 total) to living kidney donors who donate a kidney to a stranger, which would go to those who have been waiting longest on the kidney waitlist. You can read the full text of the End Kidney Deaths Act from the link in the show notes, along with other relevant sources that we discuss during today's podcast.Show NotesAbout Elaine PerlmanAbout Kim KrawiecAbout Denise AzadehEnd Kidney Deaths Act legislationJAMA opposition articleOur JAMA responseTheir JAMA replyGood Morning America segment, Elaine's son meeting his recipient (9 minutes)Video about ethics and the End Kidney Deaths Act (3 minutes)Video "Why Donate our Kidney to a Stranger (20 minutes)

Jason talks with Tracy Perlman about a debate from the morning show- who's got bigger egos: radio or TV people? Then, do we need to destroy people who misbehave in public?

3pm Hour: Jason talks with listeners about last night's Vikings game. Are you on board with JJ McCarthy now? Then Tracy Perlman joins the show for her weekly visit with Jason where they debate - who's got the bigger ego: radio or TV people?

On the 79th episode of Bomb Squad Matinee, Joe V, Rein, and Tanner discuss Guillermo Del Toro's beloved comic book films Hellboy and Hellboy II: The Golden Army. After over 20 years, does the first Hellboy still have its charm? Is Hellboy II a perfect sequel? Do the later Hellboy films stand up to Del Toro and Perlman's take on the story? Tune in to find out!

durée : 01:28:31 - Relax ! du mardi 09 septembre 2025 - par : Lionel Esparza - À 80 ans, Itzhak Perlman est une légende vivante du violon. Un coffret monumental de 78 CD publié par Erato retrace l'ampleur de la carrière de cet artiste exceptionnel, témoignage d'une vie entière dédiée à la musique. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

We are joined by special guest Alex Heeney, the founder and editor in chief of Seventh Row, to dive into Luca Guadagnino's 2017 coming-of-age masterpiece, Call Me By Your Name. They talk about their deep personal connections to the film, with Alex recounting her experience at the world premiere at Sundance and Wilson sharing his obsessive journey preparing for the New York Film Festival premiere of the film. Eli discusses the film's sensual direction, and Ben explains why he thinks this is Guadagnino's most mature work. Links:Find more of Alex on Seventh Row. They are hosting a summit celebrating queer and trans stories called Living Out Loud. Check it out here.Mina Le: why does hollywood love an age gap romance?Ben's CMBYN meme videoWomen around the fountain videoCall us by your name at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00:00 Intro00:01:14 Introducing Alex Heeney00:04:14 Our histories with CMBYN00:23:40 Masculinity00:27:18 Narrative structure00:32:04 The statue scene00:38:09 The peach scene00:43:48 Mr. Perlman's speech00:50:47 The age gap and power dynamics00:56:48 The emotional reality of the ending01:03:00 Cinematography and direction01:08:44 The role of the parents and the book's context01:17:34 Specific Scenes01:28:44 The use of music01:33:06 Walter Fasano's editing01:38:40 The film's legacy01:42:00 Outro

Jason talks with friend of the show Tracy Perlman about her role in unveiling the new title sponsor of the St. Paul Arena - now Grand Casino Arena. Plus, did you know you were pronouncing Denzel wrong?

3pm Hour: Jason starts the show with a tragic story, but one that makes him think that police should chase suspects more often. Then he's joined by Tracy Perlman to talk about unveiling Grand Casino Arena and how to pronounce Denzel correctly.

durée : 01:30:05 - En pistes ! du mardi 02 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le violoniste de légende fête ses 80 ans, l'occasion pour En Pistes de revenir toute cette semaine sur ses grands enregistrements. Nous l'écouterons aujourd'hui dans Rimski-Korsakov et Mendelssohn... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:30:05 - En pistes ! du mardi 02 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le violoniste de légende fête ses 80 ans, l'occasion pour En Pistes de revenir toute cette semaine sur ses grands enregistrements. Nous l'écouterons aujourd'hui dans Rimski-Korsakov et Mendelssohn... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:04:40 - Le Bach du matin du mardi 02 septembre 2025 - À l'occasion des 80 ans hier d'Itzhak Perlman et de la parution d'un coffret chez Warner Classics, le violoniste israélien interprète le "Concerto pour violon et hautbois" du compositeur avec l'Orchestre philharmonique d'Israël en compagnie de Ray Still. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

We are wrapping up the August Movie Minisode Miniseries today with Cronos, Guillermo Del Toro's first film!More details below, courtesy of Wikipedia. Cronos is a 1992 Mexican independent horror drama film written and directed by Guillermo del Toro and starring Federico Luppi and Ron Perlman. Cronos is del Toro's first feature film, and the first of several films on which he worked with Luppi and Perlman.Critical reviews were overwhelmingly positive, praising the inventive direction and creative storytelling, and over time Cronos has been regarded as a classic. The film was selected as the Mexican entry for the Best Foreign Language Film at the 66th Academy Awards, but was not accepted as a nominee.

Join us this week as we welcome Pediatrician and Holistic Health Coach Dr. Varisa Perlman, MD to the Podcast to discuss LaPetite Cream and the results that led her to collaborate with the French founders because the results were so unbelievable. While we initially met them at PreggoExpo New York, we quickly fell in love with the results of just trying for our hands, let alone a baby's bottom & we are blessed to bring the education to the US and around the world and share how you too can say goodbye to diaper rash on baby forever!   About our Guest: Dr Varisa Perlman is a pediatrician of 25 years who is also trained as a health coach and postpartum doula. She has practiced in Michigan and Miami and is currently in NYC. Dr Perlman believes that caring for children requires empowering parents. Happy parents make healthy children.   Discussions on the Show Include: How to treat severe diaper rash How to get rid of diaper rash Using LaPetite Cream remedies a baby's rash on the body What the French do that's different to prevent severe diaper rash How LaPetite cream is made & why it works Resources:  Varisabperlman.com Lapetitecreme.com Follow on Instagram 

"Strength is more than muscle—it's the courage to keep showing up for yourself, day after day." – Melissa Perlman In this episode of Turmeric & Tequila™, Kristen Olson sits down with Melissa Perlman, founder of Bikini Bootcamp and Amansala Eco Chic Resort, for a dynamic conversation on fitness, resilience, and building a life of purpose. Melissa shares her inspiring journey of creating world-renowned wellness retreats, leading with authenticity, and redefining strength in every aspect of life. From the beaches of Tulum to the lessons learned through entrepreneurship, Melissa's story is a testament to the power of courage, creativity, and consistency. Whether you're chasing your next big goal, building a business, or looking for inspiration to keep showing up—this episode will give you the motivation (and mindset tools) to push past limits and embrace your full potential. What you'll learn in this episode: How Melissa built Bikini Bootcamp & Amansala Eco Chic Resort into global wellness destinations The role of resilience, leadership, and authenticity in success Fitness as a tool for confidence, discipline, and self-discovery Overcoming setbacks while staying grounded in purpose Why consistency beats perfection every time This is more than a conversation about fitness—it's about living fully, leading boldly, and embracing the journey. Time Stamps: 0:00 – Kristen's intro & welcome 2:20 – Melissa's journey into fitness, wellness, and entrepreneurship 10:15 – Building Bikini Bootcamp & Amansala Eco Chic Resort 18:40 – Lessons in leadership, resilience & authenticity 26:05 – Fitness as a foundation for personal growth & confidence 34:30 – Overcoming challenges and staying connected to purpose 42:10 – Why consistency matters more than perfection 49:00 – Closing reflections & how to connect with Melissa Melissa Perlman is the visionary founder of Bikini Bootcamp and Amansala Eco Chic Resort in Tulum, Mexico. With decades of experience in wellness, hospitality, and fitness, Melissa has created globally recognized retreats that combine movement, mindfulness, and community in stunning natural settings. Her mission is to empower others to reconnect with their bodies, rediscover balance, and build lives rooted in strength and authenticity. Learn more at: Amansala.com Bikinibootcam.com Contact Melissa: 1 (602) 909-4310 Connect with T&T: IG: @TurmericTequila Facebook: @TurmericAndTequila Website: www.TurmericAndTequila.com Host: Kristen Olson IG: @Madonnashero Tik Tok: @Madonnashero Website: www.KOAlliance.com WATCH HERE MORE LIKE THIS: https://youtu.be/ZCFQSpFoAgI?si=Erg8_2eH8uyEgYZF   https://youtu.be/piCU9JboWuY?si=qLdhFKCGdBzuAeuI https://youtu.be/9Vs2JDzJJXk?si=dpjV31GDqTroUKWH

This episode, Keeper Bridgett and Guest Keeper Evan Perlman discuss…wait for it…wait for it…waaaaaaait for iiiit… Tension in Storytelling. PART II! We'll discuss what tension is, why it's important, how to deploy it, and how to keep your players on the edge of their seat!  We'll also probably confuse "tension" and "suspense" because we're professionals like that. Patreon Plug & Update Dear listeners– do you know that we have a Patreon? That's right! We have a Patreon! How else do you think that we keep the lights on around here? Here at MUP we pay our editors, we pay our hosts, and we also pay plenty of hosting fees, site fees, software fees, fees, fees, fees, you get it! Patreon earnings help support our efforts and keep the showing running. What do you get? Over on our Patreon, we offer everything from exclusive backer only bonus content, Patreon only episodes, backer only hangouts, access to our backer only portal on Discord, and more!  If you would like to support the podcast and engage with other backers, please consider backing. If you're already a backer, please take a look at the new levels and consider moving to the next level up.  Please back us on Patreon! To back us you can click the button on the sidebar of our website, mu-podcast.com or head over to Patreon directly at www.patreon.com/mup! The Discord Plug Our MUP Discord and we are all there! We invite all of our listeners to come and enjoy the community of horror gaming and cute pet pics. Link in the show notes: MU Discord server invite link: https://discord.gg/vNjEv9D  And thank you to our editor Nate for editing this episode.  Main Topic Tension in storytelling Part II!

Jason talks with Tracy Perlman every Wednesday. Who asked for this "Best Smelling Places in MN" list?! And what would you want named after you?

This episode, Keeper Bridgett and Guest Keeper Evan Perlman discuss…wait for it…wait for it…waaaaaaait for iiiit… Tension in Storytelling. We'll discuss what tension is, why it's important, how to deploy it, and how to keep your players on the edge of their seat!  Patreon Plug & Update Dear listeners– do you know that we have a Patreon? That's right! We have a Patreon! How else do you think that we keep the lights on around here? Here at MUP we pay our editors, we pay our hosts, and we also pay plenty of hosting fees, site fees, software fees, fees, fees, fees, you get it! Patreon earnings help support our efforts and keep the showing running. What do you get? Over on our Patreon, we offer everything from exclusive backer only bonus content, Patreon only episodes, backer only hangouts, access to our backer only portal on Discord, and more!  If you would like to support the podcast and engage with other backers, please consider backing. If you're already a backer, please take a look at the new levels and consider moving to the next level up.  Please back us on Patreon! To back us you can click the button on the sidebar of our website, mu-podcast.com or head over to Patreon directly at www.patreon.com/mup! The Discord Plug Our MUP Discord and we are all there! We invite all of our listeners to come and enjoy the community of horror gaming and cute pet pics. Link in the show notes: MU Discord server invite link: https://discord.gg/vNjEv9D  And thank you to our editor Gene for editing this episode.  Bridgett's Pet Pick Shout Out Tonight, I'm shouting out Muffin, pup posted by LauraB. I'm getting cinnabon vibes from this baby, but Muffin is a perfect pup with super sweet eyes. Thanks for sharing LauraB! Main Topic Tonight we're discussing Tension in Storytelling. We'll discuss what tension is, why it's important, how to deploy it, and how to keep your players on the edge of their seat!  This is such an important topic and such a customizable skill. I know this. You know this, obviously, this was your episode idea, Evan, but our listeners may not. So let's start off strong! What is Tension and why do we care? 

This episode, we return to our new segment titled, “Miskatonic University Debate Booth.” During these segments, the hosts will poll debatable gaming topics from our backers and then argue them! Our personal beliefs don't actually have to align with our defense, but we climb these hills to die upon! Guest Host: Keeper Evan Perlman Patreon Plug & Update We have new and updated Patreon tiers and benefits. If you would like to support the podcast and engage with other backers, please consider backing.  So yes – please back us on Patreon! To back us you can click the button on the sidebar of our website, mu-podcast.com or head over to Patreon directly at www.patreon.com/mup! Thank you Rob Wilson!!! Thank you to everyone who has updated their levels and is engaging with our new tiers. We're so thankful for all of you. Who we regularly see on… The Discord Plug Our MUP Discord and we are all there! We invite all of our listeners to come and enjoy the community of horror gaming and cute pet pics. Link in the show notes: MU Discord server invite link: https://discord.gg/vNjEv9D  And thank you to our editor Equinox for editing this episode.  Evan's Pet Pick Shout Out I have recently learned that beloved friend of the show IPwned has a chameleon! Named Perceval! As a pet! Head over to the Pet Pick channel to see this little dude wielding a lightsaber and being incredible. What a good reptile. Main Topic Welcome back everyone to a new segment that we've titled the Miskatonic University Debate Club!  During this segment, we've polled our patreon backers for topics that Evan I will argue to the best of our ability. The goal here is to demonstrate healthy argumentation, to have fun, to stretch our own debate skills, and most importantly to share valid perspectives to opposing topics in our industry!  Evan, are you ready to jump back in? Let's go!

Had the chance to talk with our friend Tracy Perlman, Producer with WCCO Television! Apparently, she is an expert on dating and breaking up or “banksying” we discuss what exactly this is and what she thinks of the All-Star Game and her choice of topping on a hot dog will DISGUST YOU!