Podcast appearances and mentions of Philip Glass

The artist, producer, and educator Jlin, born Jerrilynn Patton, first came out of the electronic dance music scene – specifically, the Chicago style of house music known as footwork. But she's also become a sought-after composer, and one of her works was a finalist for the Pulitzer Prize. Her collaborators include Icelandic pop star Bjork, composer Philip Glass, experimental electronic musician Holly Herndon, dance companies, and lots more. Jlin's unsettled rhythms, unexpected samples, and surprising sonic effects are layered, and played live (!) when she performs. Jlin joins us to play a set of pieces that draw on her typically bewildering array of sound sources, including a piece in six, “Iris”.Set list: 1. B12 2. Iris 3. The Precision of Infinity

Thomas Sena & Deremy Dove (Pop Culture Five Podcast Duo) light a match and illuminate the pros and cons of Martin Scorsese's Religious Epics Trilogy: THE LAST TEMPTATION OF CHRIST, KUNDUN and SILENCE!     TOPICS INCLUDE:  *An overview on Scorsese's look at Catholicism *Is Adam Driver needing better roles of late? *Philip Glass and Peter Gabriel's brilliantly inserted film scores for the initial two films *How hard it is to handle FOR ANY KIND of religious epic without someone disagreeing on the messaging *Which film ran out of steam before it even got going *Which one is easily Scorsese's most accessible film to date *And which one has a rather captivating script for even the most agnostic viewer to find riveting!                   MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/        SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222   Discord:  https://discord.com/channels/796154005914779678/796154006358851586         #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass     

Playlist de Philippe Poirier pour webSYNradio avec trois de ses compositions entremêlés des sons de David Garland, Christopher Hobbs, Carlos Gardel, Philip Glass, Elvis Presley, Isidore Isou, Eric Satie, kristin Oppenheim, Sonic Youth, David Toop, Morton Feldman, Brooks Williams, Dariush Dolat-Shahi, Marcel Broodthaers. Les morceaux choisis (pas tous) suivent un certain sentiment de la voix. Celle-ci s'exprime ici parfois de façon affirmée, parfois à peine incarnée, chantant ou parlant, d'un lieu où tous les mots ont été dits. Ces voix évoquent, à leur manière, le fameux texte où Roland Barthes rapporte les propos de Panzera, son maître de chant, faisant la distinction entre l'articulation et la prononciation. Avec l'articulation, dit Barthes, « la langue se met en avant, elle est le fâcheux, le casse-pieds de la musique ; dans l'art de la prononciation au contraire (celui de Panzera), c'est la musique qui vient dans la langue et retrouve ce qu'il y a en elle de musical, d'amoureux.

Dare to say his name five times in the mirror? Bernard Rose's 1992 horror classic Candyman continues to haunt our nightmares with its perfect blend of urban legend, racial commentary, and genuine terror.We journey through the decaying hallways of Chicago's notorious Cabrini-Green housing project alongside Virginia Madsen's Helen, a graduate student whose research into urban legends leads her to the horrifying truth behind the hook-handed killer. As we dissect this influential film that scored 79% on Rotten Tomatoes, we explore how the tragic origin story of Daniel Robitaille transforms what could have been a standard slasher into a haunting meditation on America's racial history and the power of belief.From the unforgettable performance of Tony Todd (who earned $1,000 for each of his 23 bee stings during filming!) to Philip Glass's ethereal score and those disturbingly realistic practical effects, we examine why Candyman remains so effective three decades later. The infamous bathroom scene still makes our skin crawl, while the film's social commentary feels more relevant than ever.Whether you're a longtime fan who can't look in mirrors without anxiety or a curious newcomer wondering if this classic holds up against modern horror, our deep dive reveals why Candyman transcended its slasher roots to become a genuine horror milestone. The hook-handed killer's legacy extends far beyond its three sequels, influencing everything from Jordan Peele's 2021 sequel to how we understand the intersection of horror and social issues.Follow us on Instagram @ScreamStreamPod and visit ScreamsAndStreams.com for more horror film discussions that will keep you up at night. Say our name five times and subscribe wherever you get your podcasts! Head to www.screamsandstreams.com for more information related to our episode.

Send us a textFairfax criminal defense lawyer Jonathan Katz derives tremendous inspiration in his courtroom work from teacher Robert Thurman, for his humor, caring realness, great storytelling ability, and certainly his genius in conveying Buddhist, mindfulness and spiritual ideas in a way that draws in the audience. In this episode of Beat the Prosecution, Jon Katz goes beyond what has already been written about Bob, to find out what energizes and inspires him to be the great person and teacher that he is. Bob's story is fascinating, to say the least. In his early twenties or so, he went to Asia, and ultimately became a monastic. He was not even aware of the Beatles when they took America by storm. Then, Bob returned to layperson life, and became a Buddhist scholar and is a major translator of Buddhist texts. He was a professor at Amherst College and then Columbia University. He co-founded Tibet House in New York, along with Richard Gere and Philip Glass. With his wife Nena Thurman, he spearheaded the Menla reatreat center in the Catskills, which is a project of Tibet House. The greatness of the Thurman name expands further with their daughter Uma Thurman. Jon Katz first started reading Bob Thurman's writings and listening to him around fifteen years ago, and met him twelve years ago. Bob is able to tackle even the most challenging and troubling issues, and permeate them with his infectious, compassionate and riveting humor. Bob would be a great trial lawyer; fully, persuasively, and entertainingly engaging the audience, clearing the air of unnecessarily heavy energy, vibrating highly, and distilling the message without needing to rehash unnecessary factoids. Experience Bob's essence, persona and brilliance with his podcast, videos and books at BobThurman.com . Jon recommends visiting and donating to Tibet House, and visiting the Menla Retreat Center. Bob recommends reading his Wisdom is Bliss book Jon also very much likes Bob's Infinite LIfe book. Among the opportunities to meet Robert Thurman is the is the mid-August 2025 Ram Dass Legacy Summer Mountain Retreat in North Carolina. This Beat the Prosecution episode is also playable on YouTube and Apple podcasts.This podcast with Fairfax, Virginia criminal / DUI lawyer Jon Katz is playable on all devices at podcast.BeatTheProsecution.com. For more information, visit https://KatzJustice.com or contact us at info@KatzJustice.com, 703-383-1100 (calling), or 571-406-7268 (text). If you like what you hear on our Beat the Prosecution podcast, please take a moment to post a review at our Apple podcasts page (with stars only, or else also with a comment) at https://podcasts.apple.com/us/podcast/beat-the-prosecution/id1721413675

Í hesi sendingini spæla vit serliga amerikanskan minimalistiskan tónleik, har serligur dentur verður lagdur á Philip Glass.

Andakterna den här veckan tar sin utgångspunkt i de fem världsreligionerna och har temat Hat. Idag med Karin Brygger, som utgår från sin judiska tro. Lyssna på alla avsnitt i Sveriges Radio Play. Ur andakten:Vad är hat? Ja, det är ett effektivt sätt att stänga dörrar till framtida möjligheter, skymma sikten, gräva en grop och själv trilla däri. Har du erfarit hat? Själv känt det eller blivit mål för någons okontrollerade ilska?Oavsett om du hatat eller varit måltavla för någon annans ilska kan det vara bra att veta att när ilska är så stark att känslans ägare förlorar kontrollen handlar det oftast om att den arga upplever sig hotad. Stark ilska har således en nära relation till stark rädsla. Vad betyder det?För att inte falla i samma fälla som den arga kan vi vända oss till andra Moseboken och där läsa ett överraskande påbud: om vi ser en fiende vars djur är trötta– då ska vi hjälpa denna fiende att bistå sitt djur. Inte bara en gång, utan flera. Denna mitzva – goda gärning - syftar till att kultivera vår medkänsla, att trycka ner vårt ego och visa att vi väljer rätt, även om andra gör fel. Vi bör agera som det lätt slängiga och moderna uttrycket: När de sjunker lågt, så höjer vi oss.Text:Talmud, Shabbat 312 Mos 23:5Predikaren 10:4Musik:The Poet acts av Philip Glass med John LenehanProducent:Susanna Némethliv@sverigesradio.se

Jordan and Brooke are rejoined by film & culture writer Lillian Crawford for 2002's sad and lovely ode to the interiority of women's lives. We talk awards-y lesbianism, the enduring impact of Virgina Woolf's brilliant writing, Philip Glass's divisive score, the ins and outs of this movie's intense Oscar campaign (courtesy of David Canfield), and being DEPRESSED and GAY and BUYING THE FLOWERS YOURSELF.Follow us on Twitter, Bluesky, and IG! (And Jordan's Letterboxd / Brooke's Letterboxd)Follow Lillian on Bluesky! Read her article The Hours at 25: The book that changed how we see Virginia WoolfFor privacy & ad info, visit: audacyinc.com/privacy-policy/

“What I meant when I said there is no AI is that I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we confuse ourselves too easily. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I meant when I said there is no AI is that I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we confuse ourselves too easily. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I meant when I said there is no AI is that I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we confuse ourselves too easily. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I meant when I said there is no AI is that I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we confuse ourselves too easily. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I meant when I said there is no AI is that I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we confuse ourselves too easily. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I meant when I said there is no AI is that I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we confuse ourselves too easily. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“AI is obviously the dominant topic in tech lately, and I think occasionally there's AI that's nonsense, and occasionally there's AI that's great. I love finding new proteins for medicine and so on. I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we're really getting a little too full of ourselves to think that. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastPhoto credit: Michael Springer

“AI is obviously the dominant topic in tech lately, and I think occasionally there's AI that's nonsense, and occasionally there's AI that's great. I love finding new proteins for medicine and so on. I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we're really getting a little too full of ourselves to think that. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastPhoto credit: Michael Springer

“AI is obviously the dominant topic in tech lately, and I think occasionally there's AI that's nonsense, and occasionally there's AI that's great. I love finding new proteins for medicine and so on. I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we're really getting a little too full of ourselves to think that. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastPhoto credit: Michael Springer

“AI is obviously the dominant topic in tech lately, and I think occasionally there's AI that's nonsense, and occasionally there's AI that's great. I love finding new proteins for medicine and so on. I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we're really getting a little too full of ourselves to think that. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastPhoto credit: Michael Springer

“AI is obviously the dominant topic in tech lately, and I think occasionally there's AI that's nonsense, and occasionally there's AI that's great. I love finding new proteins for medicine and so on. I don't think we serve ourselves well when we put our own technology up as if it were a new God that we created. I think we're really getting a little too full of ourselves to think that. This goes back to Alan Turing, the main founder of computer science, who had this idea of the Turing test. In the test, you can't tell whether the computer has gotten more human-like or the human has gotten more computer-like. People are very prone to becoming more computer-like. When we're on social media, we let ourselves be guided by the algorithms, so we start to become dumb in the way the algorithms want us to. You see that all the time. It's really degraded our psychologies and our society.”Jaron Lanier is a pioneering technologist, writer, and musician, best known for coining the term “Virtual Reality” and founding VPL Research, the first company to sell VR products. He led early breakthroughs in virtual worlds, avatars, and VR applications in fields like surgery and media. Lanier writes on the philosophy and economics of technology in his bestselling book Who Owns the Future? and You Are Not a Gadget. His book Dawn of the New Everything: Encounters with Reality and Virtual Reality is an inventive blend of autobiography, science writing, and philosophy. Lanier has been named one of TIME's 100 most influential people and serves as Prime Unifying Scientist at Microsoft's Office of the CTO—aka “Octopus.” As a musician, he's performed with Sara Bareilles, Philip Glass, T Bone Burnett, Laurie Anderson, Jon Batiste, and others.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastPhoto credit: Michael Springer

An der Komischen Oper Berlin wird altägyptisch gesungen - in Philip Glass' Oper "Echnaton". Wie Liebeslieder in pharaonischer Zeit tatsächlich klangen, ist Thema eines Forschungsprojekts. Außerdem: Wer waren die Täter des NS-Terrorregimes in Tschechien? Von Harald Asel

Scottish-born composer Paul Leonard-Morgan (Last Breath, Cyberpunk 2077, Tales from the Loop, Limitless) is a master of different mediums — from film/television to video games, concerts and working with recording artists like bands Belle & Sebastian and Snow Patrol, among many others.His latest, survival-thriller Last Breath starring Woody Harrelson, is his second score to this story — he also scored the hit documentary about the real people. Paul details how he evolved his approach for the narrative film, including his own wetsuit dive to record metallic clinks against boats in Malibu, California, in order to create a unique, journalistic feel to the music approach.How his collaborations with legendary composer Philip Glass came about for Tales from the Loop, after they both worked with documentary filmmaker Errol Morris. Plus, how the aggressive and dark sound of Cyberpunk 2077 came together, and why writing tunes — and staying passionate under grueling deadlines — is the magic that unlocks success.Interview by Kenny Holmes and Matt Schrader.For exclusive and 4K footage inside studios of your favorite composers, follow Score on YouTube Instagram, TikTok, Facebook and X.Score: The Podcast is presented by Vienna Symphonic Library. Check out Vienna Symphonic Library's collection of innovating libraries and samples at vsl.co.at — including their flagship Synchron Series, recorded at Vienna Synchron Stage, where hit films and shows for HBO, Disney, Star Wars, Marvel, Bear McCreary's score to Rings of Power on Amazon Prime Video, and many more are recorded. Check out Synchron Duality Strings libraries, or check out the free sample player, freebie libraries and demos at http://vsl.co.atTo learn more about recording at Vienna Synchron Stage, visit http://synchronstage.comScore: The Podcast is a presentation of Epicleff Media and is produced by Holmes Productions.Video Timecodes0:00 Intro1:49 Vienna Symphonic Library3:59 Paul Leonard-Morgan Interview6:51 Scoring Drama vs. Documentary9:29 ‘Last Breath' opening12:51 Recording Boats in Malibu17:28 Finding Unique Sounds19:58 Paulstretch Experimenting and ‘Dredd'20:52 Musical beginnings28:31 Punk-rock heart31:37 Finding a style35:54 Finding Inspiration40:22 Philip Glass collaborations42:00 ‘Tales from the Loop'51:21 ‘Cyberpunk 2077' & writing1:00:34 Three Things1:06:56 Charles Manson's music1:12:01 VSL Synchron Series1:13:46 VSL ‘Forrest Gump' Demo

Support Night Clerk Radio on Patreon You should know that this episode was divinely ordained. The Discogs article below was posted by a listener on our Patreon Discord at the precise moment Birk was listening to a related album and thinking about this episode topic. As a result, you have to listen to us work our way through the landscape of Japanese Ambient in the 80s and 90s. We talk about the music of the time and how it might have arisen from changing material and technological conditions, the importance of funding cool art, and its resurgence in popularity over the past few years. Outro SampleSeiko 3 from Music For Commercials by Yasuaki Shimizu Read these Articles!Exploring Japan's Ambient Music Boom of the '80s and '90sThe Sabukaru Guide to Japanese Ambient MusicHow Japanese Ambient Music Became a Thing in AmericaKankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990Kankyo Ongaku: A Brief History of Japanese Ambient MusicA Beginner's Guide to '80s Japanese Ambient MusicSpace and Certainty: On the Rise of Japanese Ambient Music CreditsMusic by: 2MelloArtwork by: Patsy McDowellNight Clerk Radio on Bluesky

durée : 00:44:33 - En pistes, contemporains ! du dimanche 16 mars 2025 - par : Emilie Munera - Cette semaine focus (entre autres !) sur quelques nouvelles versions d'œuvres phares des années 1970 : Tavener, opéra en deux actes de Peter Maxwell Davies, Another Look pour choeur et orgue de Philip Glass, et De la nuit, pièce fragmentaire et ironique pour piano seul de Salvatore Sciarrino - réalisé par : Céline Parfenoff

durée : 00:12:06 - Philipp Glass "Another Look" / Les métaboles & Léo Warynski - Le disque contemporain de la semaine nous fait redécouvrir Another Look at Harmony (1975) de Philip Glass, l'une des œuvres fondatrices de la musique minimaliste.

We start into Godfrey Reggio's Qatsi Trilogy this week with what many consider the strongest of the three films, mostly because Ron Fricke's cinematography and editing is masterful in it. Built from scenes of natural beauty and alienating industry with a phenomenal sountrack by Philip Glass, Koyaanisqatsi is a deeply effecting visual poem. Our dear friend Jonathan Hape (https://www.jonathan-hape.com/) joins us for the entire trilogy (probably).

The Quadraphonnes, Portland’s all-women sax quartet, will perform the music of the eccentric artist Moondog at the Alberta Rose Theater on March 7. Moondog was a blind street musician in New York City who worked with some of the biggest names in music in the mid-20th century, including Philip Glass, Leonard Bernstein, Charlie Parker and Benny Goodman. We’ll hear more about the show and get an in-studio performance from the quartet: Mieke Bruggeman on baritone saxophone, Chelsea Luker on alto and soprano saxophone, Michelle Medler on tenor saxophone, and and Mary-Sue Tobin on alto and soprano saxophone.

Grammy Award-winner Dan Zanes is a unique force in American music, blending sea shanties, early rock 'n' roll, folk, and soul into a sound that resonates with kids and adults alike. For over 20 years, he has toured the world with his band, Dan Zanes and Friends, sharing a joyful, handmade mix of social music. His critically-acclaimed work has appeared on Sesame Street, Playhouse Disney, and Nickelodeon, and he's collaborated with artists like Philip Glass, Lou Reed, and Natalie Merchant. Zanes' musical journey began in the 1980s with The Del Fuegos, but after becoming a father in the 1990s, he pivoted to creating music for families, releasing the hit album Rocket Ship Beach. With his wife, Claudia Zanes, he has also pioneered sensory-friendly performances, and together they've created the beloved Dan Zanes House Partysongbook. Zanes is also an advocate for anti-racism and co-founded a group focused on white anti-racist dialogue.MusicThe Del Fuegos "I Always Call Her Back"Dan Zanes and Friends "All Around The Kitchen"Produced and Hosted by Steev Riccardo

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (1/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (2/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (3/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (4/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

durée : 00:25:07 - Bryce Dessner, guitariste et compositeur (5/5) - par : Thomas Vergracht - Compositeur parmi les plus recherché de la scène internationale, héritier de Steve Reich et Philip Glass, Bryce Dessner est également guitariste d'un des groupes les plus en vue de la scène « indie » rock : The National. Portrait en cinq épisodes d'un musicien attachant et humble. - réalisé par : Béatrice Trichet

Bandleader and jazz saxophonist Emma Rawicz and the writer and composer Neil Brand join Jeffrey Boakye and Anna Phoebe as they add the next five tracks to the playlist. The journey takes them from Frank Gehry's Walt Disney Concert Hall in Los Angeles, across the English Channel in a rickety aeroplane, then right up to the moon with Les Paul and Mary Ford.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:The Bucket's Got a Hole in it by Kid Ory Those Magnificent Men in their Flying Machines by Ron Goodwin Conversation by Joni Mitchell How High the Moon by Les Paul and Mary Ford Sweet Child O'Mine by Guns N' RosesOther music in this episode:Tamacún by Rodrigo y Gabriela Double Concerto for Two Pianos and Orchestra: Mvt 1 by Philip Glass, performed by Katia & Marielle Labèque My Bucket's Got a Hole In It by Hank Williams Bucket's Got a Hole In It by Louis Armstrong My Bucket's Got a Hole In It by Van Morrison 633 Squadron: Main Title Theme by Ron Goodwin Amassakoul by Tinariwen Some Unholy War by Amy Winehouse Didn't It Rain by Sister Rosetta Tharpe

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Los motivos para crear música pueden ser muchos y muy variados. Generalmente nacen de la necesidad de expresar un sentimiento. A menudo surgen para reflejar una emoción o rendir un homenaje. Otras veces intentan recrear una atmósfera para acompañar un acontecimiento. A veces la música surge de tradiciones y pretende perpetuarlas; otras intenta evocar algo nuevo y desconocido. Above & Beyond, Philip Glass & XA4, Joel D. Hitos, José Luis Salas, Deryn Cullen, Moisés Daniel, Nelman Music System, José Travieso, Paul Winter Consort, Onix, Thomas Bangalter. 🎧 El playlist detallado: lostfrontier.org/t29.html#1044.Escucha este episodio completo y accede a todo el contenido exclusivo de lostfrontier.org. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/26825

Third Coast Percussion is a Grammy-winning classical quartet based in Chicago. They're all composers themselves, but they've also worked with a wide variety of other composers, including Philip Glass and the late great tabla player Zakir Hussain. Their new EP, Murmurs In Time, features Zakir's work of that name, and he was supposed to join Third Coast Percussion here today, but as you may know, he passed away in December. This Soundcheck studio premiere of the work features a disciple of Hussain's, Salar Nader. We'll also hear an excerpt from another work written for Third Coast Percussion, by Tigran Hamasyan, the Armenian jazz pianist and composer. Oh – and it's in 23/8, for anyone counting along. (-John Schaefer) Set list: 1. Tigran Hamasyan – Sonata for Percussion, 3rd Mvmt. – “23 for TCP” 2. Zakir Hussain: Murmurs In Time – second mvmt.

Irish violinist Aoife Ní Bhriain and jazz pianist and composer Julian Joseph are the first guests in the new series with Jeffrey Boakye and Anna Phoebe. Together they add the first five tracks, taking us from the Mercury Prize-winning jazz group Ezra Collective to a celebrated pair of sisters at the piano, via a 1975 pop classic heavily influenced by Frédéric Chopin.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:God Gave Me Feet For Dancing by Ezra Collective Nocturne No. 20 in C-Sharp Minor by Frédéric Chopin Could it be Magic by Barry Manilow Kabir by John McLaughlin, Shankar Mahadevan & Zakir Hussain Double Concerto for Two Pianos and Orchestra: Mvt 1 by Philip Glass, performed by Katia & Marielle LabèqueOther music in this episode:Everywhere by Fleetwood Mac Dollar Wine by Colin Lucas Feeling Good by Nina Simone Prelude in C Minor, Op 28, No 20 by Frédéric Chopin Could it be Magic by Donna Summer Could it be Magic by Take That

Estamos mal acostumbrados. Estamos acostumbrados a que nos bombardeen con anuncios por todas partes constantemente, estamos acostumbrados a que dirijan nuestras preferencias según los estudios de mercado y las últimas tendencias, acostumbrados a que escojan por nosotros, acostumbrados a que influyan en nuestro pensamiento según las últimas estimaciones interesadas del oportunista de turno. Estamos muy mal acostumbrados. Y en la música pasa lo mismo: estamos acostumbrados a escuchar lo que nos proponen las emisoras comerciales, estamos acostumbrados a escuchar lo que quieren que compremos las grandes discográficas. Afortunadamente existen los podcast como éste donde, en un extraordinario ejercicio de libertad, escuchamos músicas desacostumbradas. Philip Glass & XA4, Jyc Row w. Felicia Farerre, Seay, Lis Addison, Angel, Aura Noctis, José Travieso, Joel D. Hitos, Lightwave, Gabríel Ólafs, Philip Glass & Paul Leonard-Morgan, Tim Story & Hans-Joachim Roedelius, Goodbye Ivan. 🎧 El playlist detallado: lostfrontier.org/t29.html#1043.

Fuchs, Jörn Florian www.deutschlandfunkkultur.de, Fazit

Laurie Anderson is an artist and performer who came to fame in the UK with her 1981 hit O Superman. Her work spans music, film and multimedia projects which interrogate our relationship with technology and tell stories about the world we live in.She was born in Chicago in 1947, the second-oldest of eight children, and started learning the violin when she was five. She studied Art History at Barnard College in New York and took a Masters in Sculpture at Columbia University.In the 1970s she was part of the downtown New York art scene and her friends and contemporaries included Philip Glass, Gordon Matta-Clark and the choreographer and dancer Trisha Brown. One of Laurie's first performance art pieces featured a symphony played by car horns.In 1992 she met Lou Reed, the singer and songwriter who fronted the Velvet Underground. They were together for 21 years until his death in 2013. Laurie is the head of Lou's archive which is at the New York Public Library for the Performing Arts and open to anyone who wants to learn more about his musical adventures.In 2024 Laurie was awarded a Lifetime Achievement award at the Grammys and a Stephen Hawking Medal for Science Communication. DISC ONE: Pony Time - Chubby Checker DISC TWO: Gracias a la vida - Violetta Parra DISC THREE: Tusen Tankar - Triakel DISC FOUR: Part 1 - Philip Glass Ensemble, conducted by Michael Riesman DISC FIVE: Flibberty Jib - Ken Nordine with the Fred Katz Group DISC SIX: Doin' the Things That We Want To - Lou Reed DISC SEVEN: Washington, D.C - The Magnetic Fields DISC EIGHT: Is Chicago, Is Not Chicago – Soul Coughing BOOK CHOICE: Speak, Memory by Vladimir Nabokov LUXURY ITEM: A dog collar CASTAWAY'S FAVOURITE: Gracias a la vida - Violetta Parra Presenter Lauren Laverne Producer Paula McGinley

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

As both a composer and singer, Kristin Norderval is inspired by hybridity, interactivity and the idea that everything we do is site-specific. In her operas, chamber works, sound installations, and music for dance and theater, she blends acoustic and electronic sound, de-tuned instruments, voices, machines, and the acoustic resonance of space. Having trained in both composition and classical voice, Kristin first earned her living as a soprano soloist with a focus on contemporary music, particularly American composers. She performed and recorded works by, and often alongside, composers such as Philip Glass, John Cage, Pauline Oliveros, George Crumb and many others. Returning to composition after her 40th birthday, she continued to focus on the voice as her primary sonic material. Her solo CD of work for voice and electronics - Aural Histories - was listed by The New Yorker music critic Alex Ross as one of “Ten Notable Classical Music Recordings of 2012”. Her opera The Trials of Patricia Isasa (2016) won Quebec´s OPUS prize for best contemporary music and best production. Kristin holds a PhD in Artistic Research from the Oslo National Academy of Arts, Academy of Opera in Norway. www.kristinnorderval.com

John Forsyte has led Pacific Symphony since 1998, during which time it has emerged as the largest orchestral institution founded in the U.S. in the past 50 years. Under his leadership, the Symphony has grown in national and international stature. Pacific Symphony made its debut at Carnegie Hall in 2018 as one of two orchestras invited to perform in Philip Glass' 80th birthday celebration. That same year, the Symphony embarked on its first tour of China, performing in five major cities. The 2017-18 season culminated with the Symphony's first nationally televised appearance on PBS's Great Performances. During the COVID-19 pandemic, Forsyte spearheaded innovative community engagement efforts, including hundreds of video productions for schoolchildren and nonprofit partners. The Symphony also launched Symphony on the Go, a mobile stage concert series offering free performances in neighborhoods throughout the region. For its dedication to serving the community during this challenging time, Pacific Symphony was recognized as the Nonprofit of the Year for the Central/South Orange County region. Forsyte's decades-long collaboration with Music Director Carl St.Clair has pioneered new concert formats and audience engagement methods, helping build an audience base that better reflects the demographics of Orange County. These initiatives include semi-staged opera productions, annual children's offerings, the innovative Café Ludwig chamber music series with Orli Shaham and Pacific Symphony principal musicians. A major milestone in Forsyte's tenure was the creation of the American Composers Festival (ACF). The festival has featured thematic and contextual programs, world premieres, commissioned works, and performances of rarely heard pieces, highlighting the Symphony's commitment to innovative and compelling programming. Over the years, the ACF has garnered critical acclaim and featured prominent composers such as John Adams, Philip Glass, and William Bolcom, and has attracted a wide range of audiences, further solidifying Pacific Symphony's reputation as a leader in promoting American music. During Forsyte's tenure, Pacific Symphony became the only orchestra in California to receive a James Irvine Foundation New California Arts Fund Grant. This supported the creation of the Building Communities Concert Series, featuring cultural celebrations such as Lunar New Year, Nowruz, and a free family festival around the Lantern Festival, further expanding the Symphony's engagement with the region's diverse communities. Pacific Symphony has expanded its community engagement programs, creating transformative initiatives like arts-X-press (a middle school arts immersion camp), Heartstrings (a partnership with 47 nonprofit organizations), the free Lantern Festival, Strings for Generations in partnership with the South Coast Chinese Cultural Center, and Santa Ana Strings. Under Forsyte's guidance, the Symphony's award-winning music education offering, the Freida Belinfante Class Act program, has grown from 7 to 30 schools. A strategic priority during Forsyte's tenure has been the expansion of the Pacific Symphony Youth Ensembles program. This initiative now includes four distinct groups: Pacific Symphony Youth Orchestra, Pacific Symphony Youth Wind Ensemble, Pacific Symphony Santiago Strings, and Pacific Symphony Youth Concert Band. Together, these ensembles serve over three hundred students annually, offering exceptional training and performance opportunities for young musicians across Southern California. The program's transformative impact is demonstrated by the high rate of students accepted into leading music conservatories and universities. Under Forsyte's leadership, Pacific Symphony has maintained a balanced budget for more than two decades while significantly increasing its fundraising efforts. Contributed income has grown fivefold, and the organization has raised an additional $35 million for its endowment during this period. Forsyte's contributions to the arts have been widely recognized. He has been honored with the Helen M. Thompson Award from the American Symphony Orchestra League and the Helena Modjeska Cultural Legacy Award by Arts Orange County. He currently serves on the Chief Executive Roundtable at UC Irvine and the boards of Arts Orange County and Orange County Music and Dance. -- Critical Mass Business Talk Show is Orange County, CA's longest-running business talk show, focused on offering value and insight to middle-market business leaders in the OC and beyond. Hosted by Ric Franzi, business partner at REF Orange County.

Beyond her solo career, Molly is a founding member of Lyra & The Light, an emerging cinematic alt-rock band blending grunge, folk, and lyrical ambiance. The band will release a highly anticipated new album in 2025, while Molly continues to work on her own upcoming solo album, both of which promise to explore themes of artistic freedom and global collaboration. A former member of Scarlet Sage, Molly's expansive career includes performing with classical greats like Philip Glass and Sir George Solti, and even performing at the Vatican for the Pope. Her music has always been about pushing boundaries — creatively, geographically, and emotionally. With her new releases, Molly Durand continues to prove that music can cross borders, build bridges, and transform even the darkest of times into moments of beauty.

Molly is a founding member of Lyra & The Light, an emerging cinematic alt-rock band blending grunge, folk, and lyrical ambiance. The band will release a highly anticipated new album in 2025, while Molly continues to work on her own upcoming solo album, both of which promise to explore themes of artistic freedom and global collaboration. A former member of Scarlet Sage, Molly's expansive career includes performing with classical greats like Philip Glass and Sir George Solti, and even performing at the Vatican for the Pope. Her music has always been about pushing boundaries — creatively, geographically, and emotionally. With her new releases, Molly Durand continues to prove that music can cross borders, build bridges, and transform even the darkest of times into moments of beauty.  

“‘Bad Moon Rising' is a labor of love,” says Molly. “I' allowed myself to be entirely creatively free without differing to others for the first time in my music career. I trusted myself and my soul that brought me this song.. I'm recording an entire album, collaborating with musicians from across the world, and letting the music unfold in ways that feel true to my vision. This song is the first step in that journey.” Beyond her solo career, Molly is a founding member of Lyra & The Light, an emerging cinematic alt-rock band blending grunge, folk, and lyrical ambiance. The band will release a highly anticipated new album in 2025, while Molly continues to work on her own upcoming solo album, both of which promise to explore themes of artistic freedom and global collaboration. A former member of Scarlet Sage, Molly's expansive career includes performing with classical greats like Philip Glass and Sir George Solti, and even performing at the Vatican for the Pope. Her music has always been about pushing boundaries — creatively, geographically, and emotionally. With her new releases, Molly Durand continues to prove that music can cross borders, build bridges, and transform even the darkest of times into moments of beauty.

Today's episode features multi-talented Mancunian poet Mike Garry. Mike began by reading his own poems to the hundreds of young people who attended his Library Homework Centre. They loved what they heard and encouraged him to perform them at live poetry events and Slams, which he did, instantly winning fans and prizes throughout the UK. His gritty poetry has won admiration far and wide and his collaboration with Joe Duddell and New Order in New Yorks Carnegie Hall in 2014 received five-star reviews. Championed by Philip Glass for whom Mike has written a libretto that premiered at the 2015 Days and Nights Festival in The Big Sur. Mike has worked in thousands of schools and his three books, Men's Morning, Mancunian Meander and God is a Manc have become schemes of work in schools throughout the UK and his poetry is regularly heard on BBC Radio and TV. Ladies and gentlemen – prepare to be entertained – meet Mike Garry... If you can, please consider supporting the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

Hello Wonderful Readers,Yesterday, a poet asked me,“Do you ever tell lies?”He had locks of brown hair, a strong jawline, and wicked eyes that smiled. I caught his gaze for a second, but then I quickly looked away. I focused on his somewhat dorky, checkered shirt. My shoulders hung heavy with guilt as I listened to the catchy notes of Lou Reed that played over us from an old vinyl turntable.I was three hours into my first date with this poet at Hule, a trendy, bustling bar in Mexico City. The night air was scented with a thin layer of cigarette smoke and air pollution. We had gotten along rather well, laughing a lot, until that moment. Could he sense that I was hiding something?“I h-had to lie the other day,” I admitted, stumbling over my words, “But I believe lying is really bad. And I never do it.” I took a large sip of my IPA. I let the sharpness of the alcohol zap my throat.“Why did you lie?” he pressed me. It was the next most obvious question. Urgh, I was terrible at this, I thought to myself.“Well,” I started, and then I immediately regretted everything as it came out of my mouth, “I had to go to the doctor to get…um…my IUD replaced. I didn't meet the requirements, but I only had one day to get it done in England for free. So, I had to go to this clinic and give them a fake name and a fake address. Anyway, I got it done.”I bit my tongue. Didn't meet the requirements? Oh, please.The truth was that I had scheduled that appointment in London two months in advance, and when I finally went to the doctor, she had asked me, “Have you had any unprotected sex in the last three weeks?” And I answered honestly, “Yes,” because I'm a clueless fool. And then she stared deep into my soul and said, with pity in her voice, “You should probably take some emergency contraception because you could be pregnant.” This was a ridiculous thing for her to say because I still had my old IUD inside of me, and I apparently study and care about women's health, and I thought I knew about these things. And that even if my IUD had expired a month ago, it wouldn't just stop working overnight. But I couldn't be sure without reading all the medical fine print from the IUD companies on the internet and deciphering a bunch of Reddit forums that night. And now, after eight years of not having to worry about pregnancy, this nurse was dishing out to me all the shame that I'd thought I was smart enough and wise enough to avoid and made me feel like I was being totally reckless for having what had been a beautiful, deep connection with a very sexy man.The truth was that I then had to tell Todor*, this very sexy man that I was sleeping with and whose dangerous sperm was potentially still swimming inside of me, that I might be pregnant after I had let him cum inside of me as many times as he wanted to because that was what I had wanted also. Needless to say, discussing my potential pregnancy with him was kind of a vibe killer because he said to me, “I don't want to have a kid.” I didn't have the guts to tell him, “I want to have a kid, but maybe not today, but maybe if we were actually boyfriend and girlfriend, I would have wanted to have one with you, but we live in different countries on different continents, and I am honestly so depressed being here in London, and I would never come back here, at least never again during the winter, if I could avoid it, but I'm too scared to tell you that.” And that after fulfilling my weird impregnation fantasies, while I had quite enjoyed my times with him, actually facing the reality of potentially conceiving a child together didn't feel quite as cool or fun or sexy as those times had been.The truth was that I had then had to leave that clinic without my new IUD and wait for another couple of days for all of Todor's dangerous sperm floating around in my inner caves to die before I rushed myself to another clinic on my last day in London. There, I gave the doctor, who was really quite a kind woman who did not deserve to be lied to, a fake date of birth and a fake address, which was definitely super illegal. And then I lied to her that I hadn't had unprotected sex in the last three weeks so that I could do what was right for my own body because I really did need that Hormonal IUD to help with my periods and also give me a solid form of birth control for the next eight years. I was privileged enough to live in a country that offers socialized medicine, but that has a lagging enough technological system that didn't check between clinics, and I could take full advantage of it for my own benefit.The truth was that once she had finally inserted my new IUD, which was physically painful but that didn't scratch the surface of this evident emotional turmoil, she suggested to me that I probably would want to take it out before the eight years were up, meaning that she expected me to want to have a child by the time I was 37, all that being contingent on finding a partner and us wanting to start a family together, which would not be an easy decision, and that person was tragically but undeniably not going to be Todor. I was turning 30, and I wasn't a teenage girl anymore. The eggs in my ovaries were not going to live forever.The truth was that this made me feel very sad. Remembering all of that, I really had no business being on a first date with this funny and charming Poet Man anyway because it had barely been a week since I had left Todor behind in London, the city I grew up in and used to call home but frankly hated visiting, wondering all the while why modern love had to be so f*****g hard but also knowing that I would never be happy living in London again. I had gone through so much in the last three years to build a beautiful life for myself in Mexico, and I wasn't about to throw all that away for nothing.The truth was that I had spent most of that week before the date randomly sobbing whenever I got a brief moment to myself, especially whenever I sat down to play “Mad Rush” by Philip Glass on the piano in Soho House, where Todor and I had celebrated his birthday and my first author birthday together a mere month ago. And I had finally felt loved by someone else for a brief moment in time after years of dating a******s or perfectly lovely men with whom I had no future, and now the one person that I had quite liked and I believed had quite liked me back couldn't be together, and that made me so, so sad. And that in my first week back in Mexico City, I had intentionally returned with my other friends to the places where I had memories with Todor so that I could paint over every scent of him that kept creeping up in my body, whether that be at my favorite pizza place or a random spot on the street near my house. And I had initiated 60 days of no contact with him also, or until further notice, so I could rip out the roots of whatever love for him I had that was growing inside of me and lob that tree off at the lowest point of the trunk possible.The truth was that I still had the card that Todor had given me. I had stashed it with the book that he had bought for me in the closet in my house because I didn't want to get rid of them yet. Still, I also didn't want to come home and see them and think about them and think about him every day, and I knew that he would understand that. However, the fact that I knew they were still in my closet and that I am thinking about them even now made it even more clear to me that I still wasn't over him. I might have to get rid of his gifts if I ever wanted to be, but we had ended on good terms, so there was really no reason to be quite so drastic in my actions to remove him from my life anyway.The truth was that, as funny as this Poet Man was, he was never going to know any of this, and as I had no intention of going home with him, I would keep it that way. Because, practically speaking, while many of us dating in our late twenties and early thirties are not virgins, the last thing you want someone to bring up on a first date is a past lover. It's rude. It's disrespectful, and frankly, I was not about to give this Poet Man the barefaced dissatisfaction of knowing that I was not over Todor at all. Instead, I let him speak.“I mean, it makes sense if you got done what you needed to get done,” he said vaguely, but in a way that I knew he was trying to be kind.“I guess,” I said, “What about you? When was the last time you lied?”The Poet Man continued with the conversation. I let his words drift in through one of my ears and out the other.Do you want to know the full truth? Next week on Misseducated, I'll be back with the honest story of how Todor and I met and what we got up to when he was in Mexico. Wink wink.Until then, I hope you have a lovely weekend.Much love,Tash

Episode: 2353 Reflections on -- or in -- the key of C.  Today, French hornist Roger Kaza plays in C.