Podcasts about Piano

While Francois Pierron was homeless in London he taught himself to play a public piano at St Pancras train station – from scratch. His mastery of music helped change his future.Francois had a difficult start in life. He was abandoned as a newborn on the streets of Dakar, Senegal, shortly after his birth in 1994, but was found by police and taken to an orphanage. He was soon adopted by a French couple and grew up in a rural area near Calais in northern France. It was a happy childhood, but Francois says he struggled with issues of identity in the largely white community, and always felt he was looking for something beyond himself.He was still a teenager when he started travelling around Europe, eventually arriving in London where he was almost immediately targeted by thieves who took his passport and all his money. This triggered a spiral into homelessness that spanned five long years. Francois spent a lot of this time in the crowds at train stations, one of the few places he felt safe, and one day came across a public piano in St Pancras station – the kind that is put in the concourse for anyone to play. He'd never touched a piano before, but says that something drew him to it with an almost magnetic force. He started teaching himself to play, spending hours every day experimenting with sounds and chords. He was obsessed. The piano provided solace, and even distracted him from his perpetual hunger. Despite not having any lessons he developed an extraordinary skill, creating his own compositions that wowed the crowds at the station. His playing drew the attention of local media, and in 2024 he was invited to take part in the popular UK TV show The Piano, a competition in which amateur musicians perform publicly on street pianos in the concourses of major UK railway stations, all the while being secretly judged by famous musicians including Mika and Jon Batiste. Francois says that his experience with the piano has helped him heal. He has been able to move on from homelessness, is in training for a career in system architecture, and has even started a family of his own – he hopes to share his love of the piano with his baby twins one day. He has also been back to visit Senegal, to begin the search for his birth parents.Presenter: Mobeen Azhar Producers: Rebecca Vincent and Rachel Oakes Lives Less Ordinary is a podcast from the BBC World Service that brings you the most incredible true stories from around the world. Each episode a guest shares their most dramatic, moving, personal story. Listen for unbelievable twists, mysteries uncovered, and inspiring journeys - spanning the entire human experience. Step into someone else's life and expect the unexpected.   Got a story to tell? Send an email to liveslessordinary@bbc.co.uk or message us via WhatsApp: 0044 330 678 2784   You can read our privacy notice here: https://www.bbc.co.uk/programmes/articles/5YD3hBqmw26B8WMHt6GkQxG/lives-less-ordinary-privacy-notice

Some brilliant renditions in this mix - enjoy! Tracklisting 1. Supermode - Tell Me Why (Meduza Remix) 2. P.O.U Vs Example -Changed The Way You Kiss Me 3. Alcatraz -Giv Me Luv (Jerome Isma-Ae Remix) 4. Chicane, Larse - Offshore 5. Deep Dish - Say Hello (Paramida's Tokyo To Tehran Extended Dub) 6. Shakedown, Anyma, Leyton Giordani - At Night 7. Mar Y Cel - Thill Me 8. DJ Misjah, DJ Tim, Joris Voorn - Access 9. Da Hool, Cassian, Yotto - Love Parade 10. Bedrock, John Digweed, Nick Muir, Marsh - Heaven Scent (Marsh Remix) 11. Three Drives On A Vinyl - Greece 2000 (Max Styler Remix) 12. Piano & Specs - Can't Get Enough Ayla 13. Desyfer - For An Angel 14. Moonman, Ferry Corsten, Joris Voorn - Don't Be Afraid 15. The Beloved - Sweet Harmony (Sonny Noto Remix)

Season 5.6 Episode 3, chatting with Ke‘er about learning music and swimming, every experience of being forced is still fresh in the memory第5.6季第3期，和可儿聊学音乐和游泳的故事，每一次被逼的经历都记忆犹新For more information, you can follow the WeChat public account: willyi_You can also follow personal ins: willyi_更多内容，可以关注微信公众号：不著还可以关注个人ins：willyi_「This Season」I want to know,How did you come across those hobbiesIs the cultivation of habits about growing affection over time【关于本季】我想知道，你和那些爱好是如何相遇的习惯的培养是日久生情吗

What if better teaching wasn't about new tricks—but better questions? In this episode, we cut straight to the heart of effective music teaching with three powerful questions that can transform your lessons instantly. Learn how to clarify what you're really teaching, anticipate what will be hardest for this student, and—most importantly—how to help students fall in love with even the simplest pieces. Practical, thoughtful, and inspiring, this episode is all about teaching with intention, clarity, and heart.

Preparing for a spring piano recital? Memorizing music can feel overwhelming for many students—but it doesn't have to be! In this episode of the Piano Parent Podcast, Shelly shares three fun and effective strategies she uses in her studio to help piano kids memorize music with confidence. You'll learn how to help your child: Identify patterns in their music Practice starting in different places Use games to make repetition fun These simple techniques can help students feel more prepared for recitals, auditions, and performances. Whether your piano kid needs to memorize a recital piece or just wants to keep favorite songs ready to play, these strategies will make practice smarter and more enjoyable.

Relax beneath a starlit canopy with Midnight Forest Campfire, a tranquil soundscape blending peaceful ambient piano music, a warm crackling campfire, and the calming nighttime chorus of forest crickets, all gently supported by 2 Hz delta wave binaural beats. The soft piano melodies bring emotional warmth and serenity while the campfire crackles steadily beside you, creating a cozy woodland atmosphere. The natural rhythm of nighttime crickets adds a grounding forest ambience, and 2 Hz delta waves quietly guide the brain toward the deepest stages of restorative sleep. -- ✨ Support the show with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Premium (Ad-Free)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

微信公众号：「潮羽读书」（chaoyudushu)。主播：慕柏，365天每天更新一期。 文字版已在微信公众号【潮羽读书】发布 。QQ：647519872 背景音乐：1.Piano i - 기다림의 끝에 그대가 있다면；2.陈悦 - 傍妆台；3.群星 - 春城孤鹤；4.管平湖 - 春晓吟；5.王鹤 - 枫叶(箫与古筝)。

durée : 00:05:10 - C'est une chanson - par : Frédéric Pommier - Elle a d'abord écrit sur Instagram sur l'histoire de l'art, et elle le fait aussi dans son deuxième livre, "Ulysse, Athéna et les autres" (ed. du Chêne). Camille Jouneaux se rappelle sa découverte du tube des Pixies, puis de sa reprise par le pianiste Maxence Cyrin. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In this episode, we're joined by pianist and composer Marcus Dagan for a conversation and live performance in the Lounge.We talk about his career, musical influences, and approach to composition and performance, along with a live piano session recorded during the episode.This episode is sponsored by Checkerspot Brewing Company.

A Swedish musician bought a live octopus. He did not take it to his kitchen. He took it to his music studio! He put it in a big fish tank.一位瑞典的音樂家買了一隻活章魚。他沒有把章魚拿去廚房，而是把牠帶到工作室，放進大水族箱裡。Click HERE for the full transcript!

Yukee struggles to come up with a tune for her new song. Can Sonny and Paulie help?

Ven, Sígueme 2026 - Para El Hogar y La IglesiaCapítulo 11: Génesis 37–41Lección asignada del 09 al 15 de marzo de 2026“Jehová estaba con José”Interprete-Lector: José Enrique Sánchez ThompsonEsto es un recurso de video creado como recurso de apoyo auditivo para personas con dificultades visuales de lectura o bien, para la comodidad de Audio-Escuchas.No es un recurso o video oficial de La Iglesia de Jesucristo de los Santos de los Últimos Días.'Ven Sígueme - Para El Hogar y La Iglesia' es un recurso de estudio oficial de La iglesia de Jesucristo de los Santos De Los Últimos Días, con propiedad Intelectual de sus respectivos autores. Para mayor información u obtener el manual o transcripción oficial, visite www.lds.org Música de Piano de fondo interpretada por Gustavo Sanchez DíazPara escuchar más música de él, visiten su canal en el siguiente enlace: https://bit.ly/2t7yGF8Favor de dar Like, Suscribirse y compartir el video con sus amigos y seres queridos o bien, aquellos que lo puedan necesitar para su estudio personalHablamos!

Peter Filichia, James Marino, and Michael Portantiere talk about Mother Russia @ Signature Theatre, Milwaukee Rep’s three productions: August Wilson’s The Piano Lesson, McNeal, Ain’t Misbehavin, Marcelle on the Train @ Classic Stage Company, The Other Place @ The Shed, and Zack @ Mint Theater Company. Milwaukee Rep's new home read more

Send a textJoin us tonight as we reflect on that often under-appreciated companion to the canals, the humble towpath. We uncover its vital importance in the past and how in, recent years, its relationship with the canal has been changing. We also meet up again with E Temple Thurston and the good captain Eynsham Harry as the meet a figure of the forgotten past. Journal entry:5th March, Thursday“A warm sun that hums With the buzz of big bodied Bumblebees busy among The soft fall of plum blossom.A gust of wind swirls The petals like stirred tea. The call and response Between mother and lamb.”Episode Information:In this episode I refer to Alice McGladdery's (2016) Canal Boat Ancestors: A beginner's research guide, information given by The Rothen Group, the Jerico Wharf Trust, and the CRT's 2026 report Vital Connector for People and Nature. I also read a short extract from E Temple Thurston's (1910) The Flower of Gloster. With special thanks to our lock-wheelersfor supporting this podcast. Ana McKellar Susan BakerMind Shambles Clare Hollingsworth Kevin B. Fleur and David Mcloughlin Lois Raphael Tania Yorgey Andrea Hansen Chris Hinds Chris and Alan on NB Land of Green Ginger Captain Arlo Rebecca Russell Allison on the narrowboat Mukka Derek and Pauline Watts Anna V. Orange Cookie Mary Keane. Tony Rutherford. Arabella Holzapfel. Rory with MJ and Kayla. Narrowboat Precious Jet. Linda Reynolds Burkins. Richard Noble. Carol Ferguson. Tracie Thomas Mark and Tricia Stowe Madeleine SmithGeneral DetailsThe intro and the outro music is ‘Crying Cello' by Oleksii_Kalyna (2024) licensed for free-use by Pixabay (189988). Narrowboat engine recorded by 'James2nd' on the River Weaver, Cheshire. Uploaded to Freesound.org on 23rd June 2018. Creative Commons Licence. Piano and keyboard interludes composed and performed by Helen Ingram.All other audio reSupport the showBecome a 'Lock-Wheeler'Would you like to support this podcast by becoming a 'lock-wheeler' for Nighttime on Still Waters? Find out more: 'Lock-wheeling' for Nighttime on Still Waters.Contact Facebook at https://www.facebook.com/noswpod Instagram: https://www.instagram.com/nighttimeonstillwaters/ Bluesky: https://bsky.app/profile/noswpod.bsky.social Mastodon: https://mastodon.world/@nosw I would love to hear from you. You can email me at nighttimeonstillwaters@gmail.com or drop me a line by going to the nowspod website and using either the contact form or, if you prefer, record your message by clicking on the microphone icon. For more information about Nighttime on Still Waters You can find more information and photographs about the podcasts and life aboard the Erica on our website at noswpod.com.

Oggi ti raccontiamo del misterioso omicidio di Graziella Franchini e dell'assurda vicenda di Ryan Borgwardt. Come di consueto tutte le fonti che abbiamo consultato sono nella sezione dedicata del nostro ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sito⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

in this episode we discuss the winners of the jazz categories of the grammy awards 2026Large ensemble-christian McBrideBest Jazz Vocal Album-Portriat Samara JoyBest Jazz instrumental album -Soouthern Nights Sullivan FortnerBest Alternative Jazz Album-LIVE-ACTION-Nate SmithBest Latin Jazz -A Tribute to Benny Moré and Nat King Cole – Gonzalo Rubalcaba, Yainer Horta & Joey Calveirobest Live album Windows – Live – Chick Corea, Christian McBride & Brian Blade Simon's Apple Music Playlist Here

In a 1950 home in Shawnee, Kansas, strange things began in the bathroom.One night, while alone, she heard her son's toy piano playing by itself. When she told whatever was there it could play — as long as it didn't scare her children — the toy abruptly said “goodbye” and shut off.Later, she felt something brush against her leg when no one was nearby. Another time, she felt a touch on her back while sitting beside her daughter's bathtub — and the dog reacted at the exact same moment.And after one of her dogs passed away, she felt the bed depress at her feet as if something had come to lie down.She can explain shadows. She can't explain the touches.#RealGhostStories #HauntedHome #PoltergeistActivity #ParanormalTouch #HauntedToy #ShawneeKansas #ShadowFigures #DogVisitation #TrueGhostStory #UnexplainedPhenomena Love real ghost stories? Want even more?Become a supporter and unlock exclusive extras, ad-free episodes, and advanced access:

Welcome to the Art, Life, Faith Podcast, and I’m your host, Roger Lowther. This week on March 11, 2026, we remember the 15th anniversary of that terrible earthquake, tsunami, and nuclear disaster that struck the northeast coast of Japan. In memory of that event, last month, we had a big gathering within JEMA, which is the Japan Evangelical Missionary Alliance, the organization that represents every missionary and every mission organization in Japan. We all met in our new church space, Grace City Church Tokyo’s space and spent three days looking at the earthquakes and floods since 2011 and trying to see what we could learn from them and prepare for the next one. Some of the stories that they told were actually quite funny. There was a group that came to mud-out a house. The seawater had gone clear up to the ceiling, and so the walls and the insulation were all soaked and full of mildew. But this group, instead of starting with the ceiling and then the walls, and then the floor, started with the floor. They not only removed the floors but cut through the beams and very foundations of the house. Well, that next team that came in to take out the walls, first had to fix the foundations and then put the floors back before they could work on the rest of the house. And so, at the gathering, they were talking about the need for someone who can lead groups who actually knows what they’re doing. And hopefully, knows a little something about how a house is built. Basically, the problem that kept coming up over and over again during the course of the gathering was that the Church of Japan felt like they had to start from scratch every single time a disaster happened. They needed to try to find new resources: new people, new networks, new money. And so to that end, recently, a new network was formed called Zenkisai, which is the Christian National Disaster Network. And little by little, it’s growing. And also, after this past earthquake, the Noto Earthquake, within Mission to the World, I led a committee to form a disaster relief project account that is for every disaster in Japan, not just for one. When that next disaster comes, we will be ready to receive your help. I’ve put the details for that in the show notes for this episode. So now, through this project account, we can receive funds that will be used to buy food, water, supplies, and also cover costs of sending groups of Japanese people to the disaster area from our churches in Japan. And also very important, we will be able to pay Japanese workers to aid in the relief effort. That next disaster is coming. We know it is, but we’re doing what we can to plan for it. Anyway, before we move on to two conversations I had with people at the gathering, I want to let you all know about a sale coming up. On March 11, on the 15th anniversary of the earthquake, for one day only, all of the ebooks I’ve written about the earthquake will be available for $0.99 on Amazon in the US, and just 100 yen on Amazon in Japan. This includes both children’s books, “The Tsunami Violin” and “Pippy the Piano and the Very Big Wave”, in English and in Japanese. The sale also includes another book I wrote called “Aroma of Beauty”, with a beautiful foreword by Makoto Fujimura. Personally, I think you should get the book just to read what he wrote, his experiences after 9/11. And by the way, we also have an exhibit going on in our church space with “The Tsunami Violin”, showcasing the beautiful artwork by the very talented Holly Rose Wallace, as another way that our church community is remembering the people and towns affected by the disaster. A big thank you to all of you who’ve already bought all three of these books and left reviews. Thank you so much. Okay, now let’s turn to my conversation with Dean Bengston. Roger We are here at the JEMA Gathering (Japan Evangelical Missionary Alliance), spending three days talking about disaster relief and trying to prepare for the next disaster. There’s been quite a few ways that many of us here in this room have been involved over the past. But, Dean, I really wanted to talk with you. You moved into a disaster area soon after the 2011 earthquake. Can you tell us a little bit about who you are? Dean I am with the Lutheran Brotherhood Mission in Japan. We were living in Sendai at the time, and through a number of circumstances, we ended up connecting with Abe-san in Ishinomaki and delivering necessary goods. We soon realized there were a lot more needs and started mudding-out houses. I commuted from Sendai for a year and 10 months before we moved. Roger I have very fond memories of a concert that we gave in that home you started up there. Can you tell us a little bit about how arts played a role in your ministry there? Dean I think early on, we realized that people needed healing in many ways. And we had a friend, Shizu-san, who’s a singer-songwriter, and we invited her to come. She wanted to come to mud-out houses, but we said, Shizu-san, you have to come and sing and minister to people through song, that people need healing, and music brings healing. And so she reluctantly agreed to do a concert in an open space, a lot that we were using for gatherings for takedashi cookouts. Shizu had lived in Ishinomaki in her junior high years, but she explained to people, I don’t know how to really sympathize with you. So she started by singing songs that everybody knew, old Japanese songs. And after several songs and people singing along, she said, Well, I just like to sing a song that I wrote. Singing old Japanese songs or popular songs that people knew drew people in. And then they opened the door for her to sing songs that she’s written and to share a part of her life and her faith in a very natural way. Roger Do you feel like that was surprising to her or to the people in the room that it had the impact that it did? Dean I don’t really know, but all I know is I think for several musicians, it changed their ministry so that even when they were doing concerts in churches, they moved from doing all “Christian” music to actually starting out their concerts with songs that people maybe knew. And Kosaka Chu is really good at this. He could share a testimony and weave it in with that there’s somebody loves you, and he would just sing a song about love, and then he’d share about God and how he loves you. I don't know, I think it changed people’s lives. An awful lot of musicians volunteered, and they were well received. So we really appreciated it. We’ve had a lot of concerts. Roger Yes, you sure have. What was the name of the house that you were… Dean House of Hope or Kibou no Ie. Roger And how often were you having concerts there? Dean At least once a month. But before House of Hope, we were having them outside in empty lots, empty parking lots that we were using or empty house lots that we were using. Then we moved into the community center and had several concerts in the community center and very varying concerts. Everything from a Hawaiian Luau to gospel choirs to vcontemporary singers, and Roger, you on organ, and also the koto. Roger Right, the koto player, Chieko. Dean Yeah, that was beautiful. And we have a small place, so people were just enamored with being able to be so close to the koto and watch the keys on the organ. And also, wasn’t there a flute? Roger I was trying to remember if it was flute or violin or something. Dean Flute, I think. Roger It was so moving for me to be there and see the people… I mean, it wasn’t like background music. Everybody was so focused on what we were doing and interacting with us. It really was a moving time. Dean I think music has played a big part in bringing healing to people. Roger Tell us a little bit about your son. He’s a visual artist. Dean Yeah, he was actually starting art school, but it got delayed because of the earthquake. And so he volunteered with us at the beginning. And then he was able to, because he speaks English fluently, he was able to not take English and got Fridays off. So he volunteered for the first semester every day, every week on Fridays with us. And through that, he did one project, a byobu folding screen made out of cell phone parts. Roger Cell phone parts? Dean Yeah, the old flip phones. And there was a farmer who’s a small farmer in our neighborhood with a cell phone factory next to it. Now, as the waters came in, it drove all the parts of the cell phones into his ground, and we cleaned out his field. Joshua also did a number of things. He made paint from the muck and did some paintings with that. Roger Wait, I don’t understand. It was out of mud? Dean Yeah, out of the muck, he created paint. Roger No, I didn’t see that work. Dean Yeah. Actually, most of his art shows are interactive. He’s an interesting character because he always wished that he could touch paintings when he was a kid. So he did one show where he had all the paintings hanging at different levels, and you could walk around and touch them because they were all at touching level. So usually, his art shows are interactive. Roger Well, the cell phone project, that wasn’t just him looking for pieces. Wasn’t it collaborative in some way? Asking for people to bring in things? Dean Oh, that was a different project. He’s had a lot of different shows. Roger But just that way, too, of inviting people in, whether it’s volunteers who are there or people in neighborhood, too, is another connection point through the arts. I thought that was such an important message. Thank you so much for sharing. So Dean and his family were one of the many who moved into the disaster area after the earthquake. And every time I visited up there, I loved seeing the trust built with the community and the ways they were accepted. They were not seen as outsiders. And they're still there now, 15 years later. Okay, so I also want to introduce you to Stephen Nakahashi. He was one of the young men who answered the call to help in the disaster area shortly after the earthquake. So this big organization, Samaritan’s Purse, came in not only with a lot of supplies, but with money to hire workers. And a call went out across the nation of Japan to send them people who could work full-time. Steven was one who answered that call, along with a lot of other young people. My wife’s sister, Virginia, also moved up there as a missionary through Mission to the World as she had just graduated from college. And there was Ryo and Mami Amano, Jordan Foxwell, and so many others that went up there as well. And eventually, through their work, Ishinomaki Christian Center was started. Also, in a past episode, Episode #43, we talked with Rachel Reese Kollmeyer who also came as a missionary through Mission to the World. She is a very gifted violinist and worked with the others to teach and perform and help with the children’s music clubs and a gospel choir for kids and the annual arts festival and so much else. They also had craft-making with the kids. I was particularly moved by a musical that one of the students wrote inspired by all this, and then worked with us for the production of their musical. After the earthquake, it was especially hard for the children. The men, whose livelihood had been the coast, now had long commutes to work in other places, and the women had to go to work as well. Not only did the kids not have their parents around as much, but they also didn’t have as many resources available to them as before. The parks were gone. Many school programs had shut down. And so they did what they could to help the children dream again. And so many relationships came out of that time. Now let’s hear from Stephen. Roger So, Stephen, thank you so much for taking this time to talk with me. This is the Art, Life, Faith Podcast, and with the 15th anniversary of the 2011 earthquake, I wanted to talk a little bit about the role that the arts played in the relief effort. But before we do that, please introduce yourself. Stephen Thank you for having me. My name is Stephen Nakahashi, a pastor’s kid. I grew up in Japan from the age of 11. Prior to that, I lived in Scotland with my family. So I’ve been in Japan for 33 years and counting. I became involved in disaster relief from 2011 with Samaritan’s Purse and then I subsequently started working with Ishinomaki Christian Center and lived in Tohoku for 14 years. And currently, I am serving with Noto Help in the Hokuriku region since 2024. Roger So, you were just in a panel discussion here. You’ve had quite a few experiences with disasters. Can you list them in order with earthquake and floods by year? Stephen Okay, 2011 was the earthquake and tsunami in Tohoku. Then the 2016 earthquake in Kumamoto. Then heavy rain and flooding in Kumamoto in 2020, just south in Hitoyoshi. And then in 2021, there was again heavy rain and flooding in Saga Prefecture, north of Nagasaki. And then in 2022, there was flooding again in Aomori, in the northern part of Japan, which was a bit of a surprise as that has not happened before. And then in 2023, there was again heavy rain and flooding in Akita, again in the north. All of those happened in the summer of those years. And then in 2024, on the first of January, was the earthquake on the Noto Peninsula. Roger And then after you were brought in, I know you went in giving advice, helping in any way you could, but then you moved there. Stephen I did, yeah. Roger And you’ve been there for a year and three months. Stephen Yeah, that was a big decision for us. It was mainly driven by the importance of my family to be together. For 10 months, I had commuted from Miyagi to Noto. I would be down there for two or three weeks before going back home for a week or so and then repeat. So that became quite difficult, and we thought it’d be important for our family to be together. Roger Yeah, I was able to go twice to Noto Help while you were working there. We were in this big room with, I don’t know, maybe there were 60 volunteers or so broken up into four or five groups. You’re introducing, “Okay, here’s what we’re going to do today. This group is going to do that. This group is going to do that.” You were the man in charge, telling everyone what was going to happen. For some, maybe it was their first disaster, and they don’t know what’s going on, but you gave them this assurance, “It’s going to be okay. Your driver is going to get you there safely. They’re going to bring you back. We’re going to serve the Lord in this way.” Really was a powerful experience. Stephen Really? I’m glad you thought so. Roger I think one of the interesting things about the Noto Help situation was how, those who are listening probably don’t even know this, the roads were really hurt by the earthquake. Basically, transportation was almost shut down. Finally, when they were able to open up the roads, they made one road to go up north, one road to come back. It used to be a two-way road, and they made it a one-way road. A police blockade stopped anyone from going because it was bottlenecking the whole peninsula, so y'all became the entrance point for working throughout the whole region. Was that a big responsibility? People contacting from all over the country and all over the world to wanting to help? Stephen Yeah, I think it was really a tricky balance to maintain. We really understood how much people wanted to help, and we knew how important that was for the recovery as well. So we wanted to make sure that we were not getting in the way of first responders, like ambulances or any vehicles like that. It did seem like it would be wise to try to, as a Christian community, to be responsible for that. So we were glad we could help in that way. Roger Let’s back up to 2011. The 15th anniversary is coming up, and so many memories. I mean, Community Arts Tokyo, this organization, was started through the experiences of that. When I was in the shelters in that disaster, in the chaos, and in the anguish, the anxiety people are feeling, and saw how the arts brought healing, to see how they brought comfort, how they helped us build relationships. During a time when people are saying, “We don’t need goods. We don’t need the food and water. We’re good.” And yet there was still an entry point, a way to connect through the arts. And I, experiencing the power of that, I wanted to bring that back to Tokyo. So we started Community Arts Tokyo, building community through the arts in Tokyo. But it was experiencing that with you up in Ishinomaki, in the Tohoku area, that was my first connection to it. I was just wondering, I’d love to hear your memories of that. As you look back and think about those times, what could you do to help me process that and those who are listening to try to understand, especially as artists, what role they can play in a disaster relief situation? Stephen I remember fondly the time that we ran the Junior High School Kids program in Ishinomaki, and I really could connect with those kids over a longer period of time. Where we taught the kids at the local junior high schools for three months from April through July. And then we had the Ishinomaki Gospel Festival. So there was a goal of something beyond just practicing, but to actually have a stage at the end of it for the kids to perform and experience something different. And the catch copy, so to speak, was for the kids to be able “to dream again.” And yeah, in the midst of the devastation at the time, there were lots of kids whose parents were really struggling with the aftermath of the earthquake. In Ishinomaki, especially, there was a lot of parents, the dads of the family who are fishermen, often were gone for a long time. But then post-disaster, the mothers also started working, and the kids didn’t really have anywhere to be or to go. And they didn’t really have that sense of looking forward to something. I think that played a really important role in helping some of those kids at the time to experience something new. Roger I loved those gospel festivals because it was like the whole town was coming together for all the businesses. There were stalls so they could offer food or whatever they made. On a personal note, I also loved giving organ concerts outside. I brought my portable organ up there and I’m playing, and I don’t get to play outside very much as an organist, so that was really fun. Stephen Yeah, that was really an amazing combination of the local people coming with their stalls and then so many different artists coming to serve and to play. We also had a play area for kids, because a lot of the parks had been damaged, there was really not many safe places for kids to play. So that was another aspect that we added to it. So the kids could enjoy something different. It was an amazing coming together of communities through music and through the arts. Roger It definitely was. Thank you so much for all the work you put into those. You were in Ishinomaki right after the disaster and for a long time afterward. And then Ishinomaki Christian Center started. And as I understand it, part of the vision for that was to be a meeting place for creating community. People had their own homes. They had their food and water. But still, that community building aspect was an important part of what was needed to help people recover. Now you had a spot to do it. You had the land. You had the building. I really enjoyed being able to come up, not as often as I wanted to, but when I did, to hear, what the situation was then and how people were doing. And to see you building that community, especially right where that building was. It almost felt like a wasteland from the first couple of years of my memory of that spot. Now it’s a thriving place. It was right next to the train station. When you look back, how would you put it in your own words? Stephen As we were just talking about today, if you approach the situation with the mentality of being the caregiver and then people receiving care, and especially in a physical way, once that need is no longer there, then the relationship also ends there. Music and the arts in many ways is something that we don’t always realize that we need. And it’s a really good way to bring the community together, even after the physical needs are met and people don’t really need those types of support. But whether it be a disaster or not, and all the more so after a disaster, the people in the community were going through a lot of uncertainty. Opportunities often provided by music and different means of the arts has provided the opportunity to continue to build relationships with people. That was really important to continue the relationships with the people that we had come to know. Roger Are you seeing that now in Ichikawa, on the Noto Peninsula, where you’re living now? Is that part of the vision? I know a lot of people ended up moving away. And you were sharing in the panel how a lot of the older people living there are being encouraged by their children to leave and move in with them. They’re answering, “No, this is our home.” But there’s a lot of resistance against rebuilding their homes, rebuilding their towns. What is your vision for that and how do you see the arts playing a role? Stephen I think so. I think as we move into the phase of that physical need not being so much of a need. And we are now reaching out into the temporary housing unit communities, and we are trying to build those relationships with the people. And so definitely, I think from this year onward, and even to this point, there’s a role for the arts to play in this phase. One of the challenges in Noto is that unlike maybe in Tohoku, a lot of the temporary housing unit communities are quite small, and sometimes they don’t really even have a gathering place. If they do, it can only house maybe 10 to 15 people. So it’s hard to reach people in that way. But yeah, I think now that we do have a center in Anamizu that hopefully we can start to connect to people more there. And we look forward to being able to coordinate people coming along. Roger Thank you. Well, I look forward to our next trip. Maybe we’ll bring some artists this summer. Stephen Yes, definitely. I look forward to it. Roger Thank you. Thank you so much. Stephen You’re welcome. Thank you. You’ve been listening to the Art, Life, Faith Podcast. And don't forget to pick up your own copy of “The Tsunami Violin”, “Pippy the Piano”, and “Aroma of Beauty”. As we say in Japan, “Ja, mata ne!” We’ll see you next time.

How close is the school board to selecting a permanent CPS CEO? Will the Aspira Charter network remain open through the school year? How are students reacting to ongoing DEI rollbacks across the University of Illinois system? Host Jacoby Cochran is joined by Chalkbeat Chicago's Reema Amin and Chicago Reader's Devyn-Marshall Brown to answer these questions and more. Plus, have you checked out the Chicago Reader's Best of 2025 winners? Check out the best sober-focused music series and the best new club for queer and trans people getting started with strength training. Good news: DMB & The Etymology, Chicago Printmakers Collaborative, Miyagi Records Yard Sale Want some more City Cast Chicago news? Then make sure to sign up for our daily newsletter. Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this March 6 episode: Access Contemporary Music - Use promo code PIANO for 20% off Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Nach getaner Arbeit beginnt der Übergang vom Müssen ins Dürfen, vom Takt der Uhr zum eigenen Herzschlag. Los geht's!Diese Stücke hast Du in der Folge gehört:David Benoit - "Human Nature" //Gerald Finzi - "Clear and Gentle Stream" //Patti Austin & James Ingram - "Baby Come to Me" //Wolfgang Amadeus Mozart - "Sinfonie Nr. 15 (Andante)" //Dave Grusin - "Mountain Dance" //Den Podcast "Open World" von WDR 3 findest Du hier: https://1.ard.de/Open-WorldWenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

Earlier this week, the Chicago Fire officially broke ground on the city's first new stadium development in over 30 years. Host Jacoby Cochran and executive producer Simone Alicea discuss how neighbors are responding and the timeline for the 78 megadevelopment. Plus, they're looking at proposed People's Gas rate hikes and some of Chicago's most iconic neon signs (and why there are fewer of them these days). Good news: LGBTQ Lunar New Year Dinner,  Haymarket Sausage Fest, and Chicago Palestine Film Festival Want some more City Cast Chicago news? Then make sure to sign up for our daily newsletter. Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this March 5 episode: Access Contemporary Music - Use promo code PIANO for 20% off Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Drift into a peaceful dream state with this calming soundscape blending ambient piano sleep music, heavy rain, soft distant thunder, and subtle 6 Hz theta wave binaural beats. The gentle piano melodies create emotional warmth and serenity, while the steady rain forms a comforting natural rhythm that helps mask distractions. Occasional distant thunder adds depth and atmosphere without disturbance. Beneath it all, 6 Hz theta waves guide your brain into a deeply relaxed, dreamlike state, perfect for falling asleep, meditation, and emotional release. -- ✨ Support the show with ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Premium (Ad-Free)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

In this episode of Car Con Carne, James VanOsdol welcomes Josh Chicoine, the creative force behind Cult Canyon, to discuss the release of the debut album, Smoke Tricks. The conversation delves into the evolution of Josh's musical projects, from the raw energy of the M's and the acoustic harmonies of Cloudbirds to the collaborative and sophisticated sound of Cult Canyon. Key Highlights: The Making of Smoke Tricks: Josh explains how the album, initially inspired by string arrangements recorded in 2019, was brought to life through a grant from the Department of Cultural Affairs and Special Events (DCASE). Creative Collaborations: The album features contributions from talented musicians like Alison Chesley, Susan Voelz, and Dave Max Crawford, as well as backup vocals from Melissa Busch-Wolford and Lindsay Weinberg. DIY Spirit: Josh shares his experiences with the DIY approach to music, from producing and promoting records to filming music videos with a GoPro and a vintage VHS filter. The Influence of Chicago: The city of Chicago serves as a backdrop for the album, with Josh reflecting on his relationship with the city and the local music scene. Second Hand News: Josh and James discuss his involvement in the Fleetwood Mac tribute band, Second Hand News, and the transgenerational appeal of the legendary band's music. Album Information: Item Details Artist Cult Canyon Album Title Smoke Tricks Release Date March 13, 2026 Label Rattleback Records Release Show The Hideout, March 14, 2026 This episode is brought to you by Exploding House Printing. Based in Hermosa, they specialize in screen printing, embroidery, and custom merch for bands and brands. Visit explodinghouseprinting.com for a quote. Episode Transcript (Note: Auto-generated transcript; errors are possible) James VanOsdol: This right here is Car Con Carne. Car Con Carne is a Q101 podcast. I'm James VanOsdol. Car Con Carne is brought to you by Exploding House Printing. They’re based in Hermosa and they specialize in screen printing, embroidery, and custom merch for bands and brands. Check them out on explodinghouseprinting.com. Get a quote, see all the people, businesses, bands, and brands that they’ve worked with. Explodinghouseprinting.com. (Theme song plays) James VanOsdol: So, after the Golden Line EP a few years ago, Cult Canyon is set to release its debut album, Smoke Tricks, on March 13th. The album will be released on lovely vinyl via Rattleback Records and the release will be celebrated with a live show at The Hideout the following night. Josh Chicoine, whose creative resume is deep, impressive, and familiar, joins me in the car on a rainy, dreary, just kind of shitty transitional winter-into-spring night. Josh Chicoine: Muck, winter mix. James VanOsdol: Let’s talk about Cult Canyon. We’re here, the album’s almost out as we’re sitting here talking about it. Josh Chicoine: It is. James VanOsdol: A lot of us came to know you from your time with the M’s earlier this century. Have you metaphorically moved from the garage to the living room with these projects? Josh Chicoine: It feels like I have. I mean, there was definitely a lot of garage influences happening with the M's. Certainly a DIY spirit. James VanOsdol: That kind of raw immediacy. Josh Chicoine: Yeah, I think we were trying to—well, it was of the time too. So this was the early 2000s, there was a lot of that stuff rolling around. And we kind of fit into that mix and just wanted to bring our own little flavor, which is heavily melodic, a lot of singing, a lot of gang vocals, which is one of my favorite things to do. And still, I guess, pop ethos, you know? Major and minor chords, nothing crazy. But yeah, we got done with that and I started a three-piece singing group called Cloudbirds and did that for about three years with a couple of guys that were in the M’s also, Joey King and Glenn Russell. And that was definitely in the living room. That was acoustic guitars, sometimes we had electric, but mostly acoustic music and three-part harmonies and very folky. And it was a real welcome relief, I’d say, to almost 10 years of loud guitars and bashing drums and shouting vocals. James VanOsdol: You weren’t pounding kids anymore. Josh Chicoine: We were not. We were not, and we kind of got started late anyway. So by the time 2009 rolled around, I was probably in my mid-30s, early 30s, everybody was kind of getting into their 30s. So being on the road was just awful. I think I was about ready to have my first child. And so yeah, the whole kind of idea shifted. And so we just couldn’t sustain that. So being in a singing group and just three guys, a lot easier to organize practices and singing some sweet melodies and harmonies, and that was more my style. And I kind of chased that for a little while, and then I had a new band called Sabres and I tried to do the rock thing again in 2014 and self-released that record, put a lot of time into that record. And it was another big record. And I found out I was just really tired. The DIY thing is that you have to do it yourself. So that means producing the record, promoting the record, getting all the artwork together, getting five people—now more grown people—to get together for any rehearsal, any show. I thought it was going to maybe be a bit easier, but it just wasn't. It wasn't easy, so I had to put that down. James VanOsdol: DIY is hard. We’re doing DIY right now in a car on urban radio in 2026. I do it in my car with a couple of cheap—see how the world has shifted for us both. Josh Chicoine: It has. I might say for the better. James VanOsdol: One would argue or could argue that, yeah. We’re our own bosses. Josh Chicoine: I think so. Yeah, there you go. James VanOsdol: You’re the CEO of Cult Canyon. Josh Chicoine: I am the CEO of Cult Canyon. I have a lot of contributors and collaborators, which I’m very thankful for. James VanOsdol: Let’s talk about some of them. Alison Chesley is a contributor. Josh Chicoine: She is. She is actually appearing on the latest record. To go back to the Golden Line EP in 2019, so right before COVID, I released an EP called Josh Chicoine and it was called Dream Believers. And I was imagining this trajectory where the next bunch of songs would include a string quartet. And so in 2019, early 2019, I recorded three songs including with Susan Voelz, who’s a good friend also. James VanOsdol: She’s delightful. Josh Chicoine: Yeah, she’s delightful, she’s an old friend, she’s a great contributor, what a great spirit. And with her and a few other string players. And then COVID came, so I sat on this thing. And I sat on this thing for quite a while because part of the DIY situation that we’re in now is that there’s so much noise and there’s so many competing avenues for attention, including your couch doing nothing. That’s a big one. James VanOsdol: Yeah. Josh Chicoine: Yeah, so I sat on it and I didn’t know what I was going to do. And so I applied for a grant. It was really the Department of Cultural Affairs and Special Events here in Chicago, they have an individual artist program, DCASE. James VanOsdol: DCASE. Shout out to DCASE. Josh Chicoine: They have a grant program every year, and I applied and I said, you know, I’m coming back into making things and this is what I want to do. I want to make a rock record in the city of Chicago using Chicago musicians out of Chicago studios. And that was really the kind of impetus to be like, okay, what do I want this Cult Canyon thing to be? And so that’s when I looked back at those Golden Line songs, which are really lush string arrangements done by our good friend Dave Max Crawford of Poi Dog Pondering and the Total Pro Horns. And he does a fantastic job. I’ve been collaborating with him since the M’s, he did a lot of those string arrangements and horn arrangements and stuff, so he’s really adept and really tasteful. And so I was just like, why not bring it into everything that I’m doing and make Cult Canyon more of a catch-all and a place where, for one, I can do what I want and I can do it with others that I want to do it with, people that I love. And yeah, Alison Chesley, I met her through Susan because playing with quartets, you end up having a large stable of artists because people are busy or they want more money than you want to give them or can give them on any given night. So I was able to meet and reach out to a bunch of string players and continually find new ones in town that can fill a role for a time. And happily, Alison is on this record on a tune called Good Bad Habits. James VanOsdol: I love it. And the album sounds great. Now, we’re recording this right before it comes out, like I said. The album is Smoke Tricks. We’ve had—we, the public—have experienced some of it already. Real Sublime is a single. You shot a video for this one. Josh Chicoine: I did. James VanOsdol: Was that your house you shot it in? Josh Chicoine: That was at my house, yeah. James VanOsdol: Very tastefully appointed. Josh Chicoine: Thank you. That’s all due to my wife. James VanOsdol: You’ve got you in a convertible on the lakefront. Josh Chicoine: That’s my buddy Al’s ‘67 Oldsmobile. James VanOsdol: That’s badass. Josh Chicoine: Pretty badass. We all need a buddy like Al. Al’s the best. James VanOsdol: Convertible on the drive, clearly different time of year from when we’re recording this. Josh Chicoine: Yeah. James VanOsdol: And is that the lake you jumped into or did you shoot that— Josh Chicoine: Yeah, jumped into the lake. Another good friend of mine is a Great Lake jumper, Dan O’Conor. James VanOsdol: He’s a celebrated Great Lake jumper. Josh Chicoine: They continually celebrate Great Lake jumper. I think he did it for five years straight every day. And yeah, so I started going out there and doing that. So it wasn’t so far afield to imagine, because what are videos now? I don’t even know what they are. But for this one, it was like, all right, Al, let’s get in a car, let’s drive around. I got this GoPro, I’ll stick it to your car, drive around, and then let’s go to the lake and let’s jump in the lake. James VanOsdol: So it doesn’t necessarily tie back to the lyrics or the theme? Josh Chicoine: I don’t think so. I mean, but maybe somebody sees something that I don’t. I think that’s part of my MO, at least, is to leave enough fog to allow for some interpretation. But yeah, this is more of kind of a performance, roll around, get some good footage, put a 1989 VHS filter on it and make it look cool and get it out. James VanOsdol: And you’re a fan of film and what can be done with movies. Josh Chicoine: Yeah, for sure. I mean, I love film, I love movies, I love music movies. For eight years I was the co-founder and director of the Chicago International Movies and Music Festival. And we were all over the place throughout the city. And we would show movies from all over the world, like 33 countries usually were represented each year. And that was just, for me, was fascinating to figure out how to build something like that that could last and to raise money for it, you know, practicing all these adult skills that being in a van in a band on tour you’re not really practicing too much. James VanOsdol: Do you miss doing CIMMfest? Josh Chicoine: There’s a lot of it that I do. I really miss just the people and the spirit. I mean, we had an incredible group of volunteers that would come every year and really they were the ones that were able to activate this thing. And so I loved sitting around and dreaming, I loved building marketing materials, if only because then I could have something to go and take to people that I knew and a network that I was building. And I thought it was really a cool thing for the city and it really got me in touch with a lot of old friends and made so many new friends and it kept me—this was right after the M’s, and the M’s were kind of media darlings and played a lot of shows and, you know, I knew a lot of club owners and I knew publicists and I knew all that network. So it kind of allowed me personally to stay connected to that world. And coming out of there, that’s what my kind of career goals were. I was just like, okay, I want to stay in this world, I want to stay connected to these people. So it was my friend Ilko Davidov, who’s a Bulgarian filmmaker, and it was his concept. And I was just sort of the right person that was able to come and hoodwink a bunch of people into coming on board and giving me a bunch of money and being able to try to make this thing into a sustainable institution. We never quite got there. It’s always resource-light and operations-heavy. And never quite got there, but still just some great memories and really happy and really proud of what we were able to build. James VanOsdol: Thinking about film and music and making short music films, I’ve wondered this out loud on this podcast before, but I feel like this is a golden moment. This is the time for artists to explore that side of things. I mean, it’s not like the 1980s when I grew up, when videos were bankrolled by record labels and there were millions of dollars. Like, you grabbed a GoPro, you sit it on the dash—like, this is a real opportunity for creative expression, I think. I just don’t know if enough independent artists are taking advantage of it. Josh Chicoine: I mean, if you look at—I’ll have to disagree, I feel like, you know, the barriers are down and people now, everybody’s got a pretty decent camera in their pocket at all times. Since the barriers are down and since everybody’s got a camera, you can do whatever you want, put it up there, and not going to say it’s good, most of it’s not, most of it’s schlock. But you at least have the opportunity to make something that’s decent and the technology affords it. You don't even need to be great at editing. You can cobble stuff together. You really can. I mean, I use a really cheap editing software. James VanOsdol: Can I ask? Josh Chicoine: It’s called CapCut. And the same company, I can’t remember what they’re called, the TikTok corporation, ByteDance. It’s a ByteDance product. And I got it because it was cheap and another friend of mine was using it. And he was making some cool stuff, so I was just like, all right, I’m just going to dive in and start doing stuff. And so that’s what I did. James VanOsdol: That’s DIY. Roll up your sleeves, let’s get to it. Josh Chicoine: Yeah, it’s just—I had spent CIMMfest was so much about favors and so much about waiting for favors from people that you were either getting a deep discount from or not paying at all. And I know the pain, you know? And it’s real. So if you have any kind of means by which you can get a hold of this stuff, then it’s just about putting the work in and, you know, time is mine to give or throw away. So, yeah, it’s just sort of—I keep getting better and better, I mean other people can be the judge of that, but I feel pretty good about what I’ve been able to do with hardly any resources. James VanOsdol: It’s pretty cool. Josh Chicoine: Yeah, it’s pretty cool. James VanOsdol: All right, going back to this album Smoke Tricks again, available on March 13th. Bitter Birdies is how we begin. If you listen close, actually you don’t even need to listen that closely, there are dogs barking at the beginning of the song. Josh Chicoine: Yeah, Ralfy. James VanOsdol: I was going to ask. Josh Chicoine: It’s my doggie. James VanOsdol: And you were aware when you were recording the dog was part of it, right? Josh Chicoine: Yeah, well, my producer, my co-producer on this was Todd Rittmann and Todd Rittmann was in US Maple. I don’t know if you remember that band. Affiliated with Cheer-Accident, of course. James VanOsdol: Of course, always interesting. Josh Chicoine: Yes. Now he’s in Dead Rider, for everybody out there who’s watching, check out Dead Rider. Yeah, he’s fascinating, he’s got a great little studio called Shy Diamond Studio down in Logan, just north of Fullerton. And, you know, him and I kind of cobbled this thing together. And I never expected that the piano tracks were the final. So I would just make demos at my house and then I would send them to Todd and I’d be like, “Here’s what I’m thinking for this song,” and then we would try and fit it in somehow. And he was just—he’s like a maestro. He was just like, “I love it, you’re never taking away the dog’s bark. We’re keeping it in there 100%.” So I was like, “All right, let’s go.” Piano sounded fine, sounded good, it’s my piano in my living room. I loved it, and that’s my boy Ralfy. So he’s my spirit animal and I’m glad he’s on the record too. James VanOsdol: Good boy, Ralfy. Josh Chicoine: He’s a very good boy. James VanOsdol: On this song, I know you want people to interpret songs as, you know, as any artist would suggest, like you want to feel a connection, right? But you do mention “stuck here in Chicago” in that song. Were you feeling—do you feel a weird relationship with the city? Josh Chicoine: I think I love Chicago. It’s my favorite city. It’s especially my favorite city to come back to. I don’t know if you’ve ever leave for like a little while, but when you come back, it’s just like—ah. Especially when you’re driving back home and like you catch that first glimpse of the skyline. That is a moment. It’s real. So, I mean, when I got that grant from DCASE, it was like, “Oh no, now I got to write a record.” They called your bluff. Every time for me, at least, I decide to write a record, I have to figure out how to write a record again. And that—it’s like a lot of introspection and a lot of like, “Who am I now? What am I going to write about now?” And it takes a long—it took me a long time. And Bitter Birdies kind of came about based upon that piano that opens it up. I had that piece for a long time, but sort of like lyrically I wasn’t quite sure. And my wife and I are going to be married 25 years in June. James VanOsdol: Congratulations, that’s a big milestone. Josh Chicoine: Thank you. It’s been wonderful. But seven years into our relationship, there was a breakup. Post-college, I mean I was dating her since I was 19. I’ve known her for a long time. So yeah, moved to Chicago, joined a band, you know, our lives were diverging. And so we broke up. And she went—she quit her job, she was like working at a financial firm downtown. I was in a band, so you can see divergence. For sure. But yeah, she quit her job, she went on walkabout in Europe for six months. And I took myself back to that time. And that time was sort of very freeing and very fun at the beginning, and then the longing just really set in and, you know, the longer my notes and messages would go to her, the shorter and shorter that they came back to me. So it appeared like she was moving on and there was something really heart-wrenching about that for me. So yeah, that song was about that. So, you know, she was having this really great experience and seeing all new things and new people and I was here stuck in Chicago. So I was living in a loft space where Salvage One is now off of Hubbard, between Wood and Wolcott. With these crazy artist people and there were raves and I was making a bunch of music. So it was just like this Kevin Bacon Quicksilver life that I was living. And I just started to really miss her, no matter what I was just like, “What if she came back here and she lived with me in this hovel and we could do this together?” And that’s sort of the kind of emotional impulse that I felt from writing that and wanting to get out of it, you know, wanting to get out of that space. So nothing against Chicago, I love Chicago, but you know there’s definitely moments where you’re just like, “Okay, get me out of here.” James VanOsdol: Write what you know. Josh Chicoine: That’s I think what I came back to and when I was confronted with that idea and I keep a quote book and Louise Bourgeois said that, “If you’re not writing about yourself, then it doesn’t mean anything.” And I’m parsing—I’m screwing that quote up, but I really took that to heart. So I was like, “Okay, well then I am going to write about myself and my experiences because it’s all that I have really that I could feel a connection with.” Oh, it’s okay up there. I got an ambulance. Ambulance, police car, normal stuff. Stuck in Chicago. Here we are. James VanOsdol: Run Red Lights, which I don’t recommend. I mean, I recommend the song. Who’s doing the backup vocals on that? Josh Chicoine: Yeah, so that’s my friend Melissa and Lindsay. Melissa Busch-Wolford and Lindsay Weinberg. And they play with me in a Fleetwood Mac tribute band called Second Hand News. James VanOsdol: Good segue. I was going to ask about that. Because the backup vocals have a really nice texture in that song in particular. Josh Chicoine: Thanks. James VanOsdol: And that actually dovetails perfectly to the question about working and being part of Second Hand News because you play with those harmonies which are magical. Clearly you bring some of that back to Cult Canyon. Josh Chicoine: Yeah, I think it for me it’s always sort of been there. You can hear it in the M’s, you can hear it if you listen to Sabres, you can hear it there too. Certainly with Cloudbirds it was very much about the harmonies. And yeah, as I started to enter into this promo world of Cult Canyon, I was just trying to like think about things that were a common thread. And harmonies, singing—that’s how I kind of come up with ideas. I just kind of start with the voice, have something on the guitar that’s fine. I’m a mediocre guitar player but it’s really about voice and vocals. And so when I started playing in Second Hand News, you know, I had never been in a band with women before. I’ve played music with women before, but not in a band. So it was sort of like, “Oh, this whole another resource that I would love to bring into this project.” And they were so game and, you know, they brought their whole selves to it and I think it really shows in the recording. James VanOsdol: I love it. Since we’re on the topic of Fleetwood Mac, Tusk. Misunderstood classic or big awful mess? Josh Chicoine: Can it be both? Depends on which side you’re on, yeah. I was really naive about Tusk and I had it in my record collection just from a bunch of records that somebody gave me. And I think at one point the—because there’s two record sleeves in it—they both got kind of separated. So all of a sudden I had four record sleeves separated and I was like, “Wait a minute, this is a quadruple album? This is crazy.” But it wasn’t. There’s a record sleeve that hides another record sleeve that has the record in it. That’s how much money and wasteful money that they had. Because that’s coming off Rumours. Like, they could do whatever they wanted. Lindsey Buckingham could do whatever he wanted. And he really did. He really did. And some of it, you know, it could be argued that he shouldn’t have done it, but we still play a bunch of jams off of there. The title track to me is still one of the coolest songs of the 1970s. Super cool. I mean, there’s a lot on there that are really unheralded. Think About Me is another really good one that we love to play. James VanOsdol: Sara’s on that too, right? Josh Chicoine: Oh God, I’m going to get killed by my bandmates. Sara’s on there, yeah, it’s on there. Let’s say yeah, when no one’s looking it up. But yeah, we play Sara all the time and it’s like seven minutes long and the audience loves it and Melissa crushes it. And yeah, those are just really fun songs to play. And the audiences are crazy. It’s like there’s 18-year-olds there. James VanOsdol: I was going to say. Josh Chicoine: There’s 88-year-olds there. James VanOsdol: It’s one of those bands that is transgenerational. My daughter, who’s heading towards 21, Stevie Nicks is probably a top five artist for her. For her birthday a few years ago I took her to see Stevie Nicks at the United Center and it was this magical night for her. Like, we walked out of the United Center and she said, “I only cried three times.” I’m like, “What do you mean you cried?” “Well, you know, during Gold Dust Woman and... oh gosh, what else did she cry during? Dreams, Rhiannon, and Landslide.” Of course, classics. But I mean it is interesting how maybe millennials didn’t give a shit, but suddenly like Gen Z is full on board with Stevie Nicks. Josh Chicoine: I take it back to that dude who was on the skateboard chugging cranberry juice and all of a sudden Dreams became something. But it just feels like it’s cyclical. It keeps coming back, those songs are just so classic. Timeless, absolutely timeless. And the recordings of them were amazing. So it just seems like they’re just not going to go away, which is great for Second Hand News. Yeah, I mean we played the Metro a couple weeks ago. That’s amazing. James VanOsdol: That’s nuts. Josh Chicoine: Yeah. I love it. James VanOsdol: And to your point, like all ages get into it. That’s something you don’t get to experience necessarily in the M’s or Cult Canyon. Josh Chicoine: It’s different. Yeah, it’s different for sure. And I think that we—I’ve been told this by a lot of audience members after the show and they’re just like glowing coming out after scream-singing at us for two hours. And they just say like, “You bring so much joy.” And I really feel that. Like, we do. I mean the band is killer. And so the band in Second Hand News, the guitar player, bassist, drummer, Mike, Mike, and Dan, they play in Cult Canyon too. So they’re the ones who are the backing band on this Cult Canyon record. So I just was just enamored with this whole group and just because we had such good times together on stage and in front of giant crowds and harmonizing and singing and playing those classic songs. So it was just kind of a natural little pivot to bring them into my songwriting and I was really happy that they did. James VanOsdol: I love that. So Rattleback Records, easily a favorite record store of mine. Josh Chicoine: Mm-hmm. James VanOsdol: Releasing the album on vinyl. How important was it for you to have this as a record, as an LP? Josh Chicoine: It was critical for me. I think one of the things—so I released the Sabres record in 2014. And it kind of, like many, many, many, many, many records out there, it just kind of gets—it’s like, “Okay, it’s out there,” and then you tell your friends and then it just doesn’t really go anywhere. James VanOsdol: And that ambitious ordering of 500 records turns into, “Okay, we’re still sitting on 250.” Josh Chicoine: I have a lot of CDs. Let’s put it to you that way. Hit me up if you want a CD by Sabres. I’ll just give it to you. It’s got—anyway. Yeah, so I think I was determined to at least try and make a stink with this Cult Canyon record. And I really liked it. And so one of the first things I did was I talked to my friends in the AM Slingers, who are another Rattleback band and they’re friends of mine too. And I knew that Paul over at Rattleback had put out a 7-inch of theirs. And by put out, I mean he paid for it. So he facilitated the production and then, you know, created a connection between the band and the record store. Really love that idea, you know? It’s going to be DIY anyway, it’s all about building community bit by bit by bit. So I was introduced to Paul kind of—I don’t even remember when, it’s probably a year ago now, if not more. And he was really intrigued and I sent him a bunch of songs including the Golden Line EP, which he really loved. And that just gave me a lot of confidence, and so I took this Smoke Tricks record and I was like, “I’m really looking for somebody to help me out with this.” And he was game and continues to be game. James VanOsdol: I love that. Josh Chicoine: It was his dream to have a boutique record store. And that happened, and then it was his dream to have a boutique little tiny record label. So that happened. James VanOsdol: I’ve never been in that store, by the way, where it hasn’t been busy. Josh Chicoine: Oh good. James VanOsdol: No, I mean I love going there. Like, they’ve got one of the best, I think, mixes of new and used and their prices are very reasonable. Josh Chicoine: I agree. I agree. Yeah, they have a lot of cool chotchkies around, good t-shirt collection. It’s like a proper record store. James VanOsdol: And I mean if you’re one of those budget-bin divers like there’s dollar records, you’ll hurt your knees going through them, but I mean there’s occasionally gold to find in there. Josh Chicoine: I agree. It’s everywhere. James VanOsdol: But yeah, it’s a cool place, I mean right over there on Clark Street. And I love just that kind of brand extension for Rattleback. Like it makes so much sense. Josh Chicoine: I love that. I love that for Paul, I love that we were able to become a part of that and we’re putting on a showcase of Rattleback Records artists May 29th at the Burlington. James VanOsdol: Nice. Which for the record, one of the loudest rooms in Chicago. Josh Chicoine: That’s right. We’ll do what we can, but I mean it’s hard, it’s like a lot of hard flat surfaces and they didn’t do any soundproofing or nothing. So, yeah. James VanOsdol: That’s good. That’s part of its charm. Josh Chicoine: It’s part of the charm. Yeah, yeah, you know what you’re getting into when you go back there. Just bring earplugs, what’s the big deal? James VanOsdol: Just bring ear—that’s—if you bring earplugs, you’re good. Josh Chicoine: Yeah, that’s right. James VanOsdol: But if you go deaf, I mean who better to go deaf from? Josh Chicoine: Yeah, that’s a badge of honor. It’s a badge of honor. I mean it’s not a good recommendation, I would say. But if you want good earplugs, just go to Sensaphonics down there on Milwaukee Avenue. Shout out. Yesterday was National Hearing Day and I got myself fitted for a new pair of earplugs. James VanOsdol: Smart. Josh Chicoine: And it basically—it’s no joke. No, it’s no joke if you listen to a lot of live music. It basically just turns the volume down. The clarity is still there versus sticking toilet paper in your ears or those foam things. James VanOsdol: Exactly what they feel like. Or those like pool noodles shrunk down. Josh Chicoine: Yeah, that’s right. They’re good if you want to sleep. If you’re like on tour and everybody else snores in your hotel room, then those are really effective. James VanOsdol: For sure. All right, so Smoke Tricks is the album. It’s awesome. It comes out on March 13th. The Hideout is the release show on March 14th. And onward and upward. What a great record, you really did it. Josh Chicoine: Thanks, man. I really appreciate it. That was nice talking to you. Are we done? Is this the wrap? James VanOsdol: This is the wrap. Josh Chicoine: All right, love it. See omnystudio.com/listener for privacy information.

Send a textKaren Ferguson welcomes back Sandra Kay Chambers, the founder and original host of 5-Minute Parenting! In this episode, Sandra shares exciting life updates and a teaser for a new book that's coming soon! Sandra has had some important life changes since last being on the podcast, but what hasn't changed is her passion for books and writing. Listen in as she shares the heart behind her soon-to-be-published children's book Nana's Piano. Sandra also continues to partner with 7Homes, a foster and adoption agency, with her book Fingerprint Devotions. Click the link below and donate a copy to support this important ministry!  7Homes (Fingerprint Devotions Book Donation): https://www.amazon.com/hz/wishlist/ls/28RHN75099DNP?ref_=wl_share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAdGRleAPnU1lleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA8xMjQwMjQ1NzQyODc0MTQAAaeRwrRd_ZWtHqYrmzKSRrL0q3_7Lvo6vaEEwv8xMe3AUPxsQ5joMfXq0X93RQ_aem_zfC1WYlz-V4c8zVSaASyuASign up for Sandra's Quarterly Newsletter by visiting her website: https://sandrakaychambers.com/  Book 3 in the Questions for Kids picture book series is now available! Check out Guess Why God Made the Rainbow on Amazon or your favorite book retailer!

Snam ha presentato il nuovo piano industriale al 2030 concentrato sulla sicurezza energetica e sul rafforzamento delle infrastrutture strategiche del gas. Il gruppo prevede investimenti per 14 miliardi di euro destinati soprattutto al potenziamento della rete di trasporto e dei siti di stoccaggio, con l obiettivo di costruire un sistema energetico piu integrato e competitivo a livello italiano ed europeo. Il piano si basa su crescita industriale, valorizzazione delle partecipazioni e rotazione degli asset. Nel 2025 Snam ha registrato ricavi per oltre 3,8 miliardi, margine operativo lordo a 2,9 miliardi e utile netto rettificato a 1,4 miliardi, con dividendo in crescita del 4%. L indebitamento netto si attesta a 17,5 miliardi. Secondo l azienda la domanda di gas in Italia nel 2026 sara in lieve aumento e non emergono al momento impatti materiali legati alle tensioni internazionali in Medio Oriente e Ucraina, anche se il contesto restera monitorato attentamente. Facciamo il punto con Agostino Scornajenchi (nella foto), amministratore delegato di Snam.Il parlamento cinese riduce il suo obiettivo di crescita nel piano economicoAll apertura della quarta sessione annuale della 14 Assemblea nazionale del popolo a Pechino, Xi Jinping ha presentato il nuovo Piano Quinquennale che definisce le priorita economiche e politiche della Cina nei prossimi cinque anni. Pechino fissa un obiettivo di crescita tra il 4,5% e il 5%, leggermente inferiore al risultato dello scorso anno, mantenendo pero un forte sostegno pubblico all economia con un deficit pari al 4% del Pil. Il piano punta a rafforzare la leadership tecnologica cinese in settori strategici come intelligenza artificiale, informatica quantistica e terre rare, considerate decisive nella competizione con gli Stati Uniti. Previsto anche un aumento del 7% della spesa militare nel 2026, nel quadro del rafforzamento delle forze armate e delle tensioni regionali, in particolare su Taiwan. Sul fronte finanziario saranno destinati 44 miliardi di dollari alle banche statali per sostenere il credito alle imprese tecnologiche e ridurre i rischi sistemici. Il piano affronta anche il tema demografico con misure a sostegno della natalita e dell occupazione e prevede un aumento della produzione agricola fino a 725 milioni di tonnellate per rafforzare la sicurezza alimentare nazionale. Il commento è di Fabio Scacciavillani, Il Sole 24 Ore.Stretto di Hormuz, giù il traffico delle petroliere, su le polizzeLe tensioni in Medio Oriente stanno rallentando fortemente il traffico marittimo nello Stretto di Hormuz, dove risultano ferme oltre 700 navi, di cui circa 200 petroliere. Secondo Reuters il traffico e calato fino all 80%, mentre il mercato assicurativo londinese segnala un forte aumento dei costi per le coperture contro il rischio guerra. Nonostante questo, una parte delle navi continua ad attraversare il passaggio strategico da cui transita circa il 20% del petrolio e del gas naturale liquefatto mondiale. L aumento del rischio ha spinto al rialzo i prezzi energetici e ha reso molto piu costosi noli e assicurazioni, con premi fino a dodici volte superiori ai livelli normali. Le compagnie assicurative stanno rinegoziando le polizze extra war risk e il mercato dei Lloyd s resta in contatto con le autorita statunitensi per definire nuove garanzie contro il rischio politico nella regione. Anche il costo dei trasporti marittimi e aumentato sensibilmente, con rincari fino al 400% per i container e al 300% per le petroliere. Interviene Stefano Messina, Presidente Assarmatori.

Piano music courtesy of Harpeth Presbyterian Church. Closing Banjo music courtesy of Banjo HangOut Alabama Jubilee,, used with permission. In September (17 87), during the ratification of the Constitution,  Delaware's lone delegate voted “No”

A Northwest Side charter network, an iconic South Side cleaners, and a North Side art museum all announced closures in recent weeks. Executive producer Simone Alicea and host Jacoby Cochran dive into the details. Plus, attack ads are picking up in primary races, and Amazon delivery drones are coming to Chicago's south suburbs. Good News: Women in Dance Festival, Farmdega at Monday coffee, 312 All Star Basketball Tournament, Winter Walk & Bonfire Want some more City Cast Chicago news? Then make sure to sign up for our newsletter. Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this March 4 episode: Access Contemporary Music – Use promo code PIANO for 20% off Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

微信公众号：「潮羽读书」（chaoyudushu)。主播：慕柏，365天每天更新一期。 文字版已在微信公众号【潮羽读书】发布 。QQ：647519872 背景音乐： 1.末廣健一郎 - 動く、動く -Piano version-；2.梶浦由記 - 灯のもとに；3.George Skaroulis - Snow；4.西村由紀江 - 道の途中で；5.松谷卓 - 大切な想い出。

Logeek, 30 video per imparare la Logica, con Immanuel Casto: https://logeek.academy ⬇⬇⬇SOTTO TROVI INFORMAZIONI IMPORTANTI⬇⬇⬇ Abbonati per live e contenuti esclusivi ➤➤➤ https://bit.ly/memberdufer Leggi Daily Cogito su Substack ➤➤➤ https://dailycogito.substack.com/ I prossimi eventi dal vivo ➤➤➤ https://www.dailycogito.com/eventi Scopri la nostra scuola di filosofia ➤➤➤ https://www.cogitoacademy.it/ Racconta storie di successo con RISPIRA ➤➤➤ https://cogitoacademy.it/rispira/ Impara ad argomentare bene ➤➤➤ https://bit.ly/3Pgepqz Prendi in mano la tua vita grazie a PsicoStoici ➤➤➤ https://bit.ly/45JbmxX Tutti i miei libri ➤➤➤ https://www.dailycogito.com/libri/ Il nostro podcast è sostenuto da NordVPN ➤➤➤ https://nordvpn.com/dufer #rickdufer #iran #khamenei INSTAGRAM: https://instagram.com/rickdufer INSTAGRAM di Daily Cogito: https://instagram.com/dailycogito TELEGRAM: http://bit.ly/DuFerTelegram FACEBOOK: http://bit.ly/duferfb LINKEDIN: https://www.linkedin.com/pub/riccardo-dal-ferro/31/845/b14 -------------------------------------------------------------------------------------------- Chi sono io: https://www.dailycogito.com/rick-dufer/ -------------------------------------------------------------------------------------------- La musica della sigla è tratta da Epidemic Sound (author: Jules Gaia): https://epidemicsound.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt Leonard had the bright idea of brining in a keyboard. He came up with a bit where the Wednesday crew would have to play the piano over songs of Matt's choosing when they have zero clue on how to even play the piano. Wednesday Morning Madhouse - March 4, 2026

durée : 00:08:33 - Nouvelles têtes - par : Mathilde Serrell - Mathilde Fernandez, chanteuse, pour son album “Piano-voix”, de la techno au piano-voix, la puissance d'une voix aux mille facettes. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

To read the complete transcript and watch the podcast video, visit the ⁠⁠⁠⁠⁠episode blog⁠⁠⁠⁠⁠.In this episode of the Successful Musicians Podcast, Jason Tonioli sits down with pianist, composer, and arranger Anne Britt. With nearly 15 piano books, multiple album recordings, and a growing catalog of intermediate-level piano duet arrangements, Anne shares how she built a publishing career rooted in collaboration and communication, and how she builds meaningful piano duets and hymn arrangements that connect with listeners.From earning a math degree to studying composition later in life, Anne's journey proves that it's never too late to develop your creative voice. This episode is especially relevant for pianists, hymn arrangers, and musicians who want to publish their own sheet music but struggle with self-doubt.What You'll Learn- Why Anne believes music is a language- How to define success as communication rather than comparison- Why starting composition later in life is not a limitation- The power of mentorship in developing musical confidence- How to overcome the belief that you are “not creative enough”- Why intermediate-level piano music fills an important need- What makes piano duets uniquely collaborative- How sharing your music builds courage over time- Why feedback from listeners matters more than online criticism- How small, meaningful moments define real musical successTopics Covered in This Episode- Growing up in a musical family- Studying math at BYU while continuing piano performance- Becoming a collaborative pianist and staff accompanist-The turning point during a high school production of Guys and Dolls- Studying music theory and composition in her 30s- Publishing her first CD and songbook- Writing and publishing hymn arrangements- Creating intermediate piano duet collections- Contributing to the Hymn Sampler collaboration- Upcoming holiday piano duet projectsWho This Episode Is For- Pianists who want to publish sheet music- Church musicians and hymn arrangers- Intermediate-level piano players- Musicians who feel like they started late- Creative professionals overcoming self-doubt- Piano teachers looking for duet repertoire- LDS musicians building niche catalogs- Collaborative pianists- Arrangers developing their own voice- Anyone who believes music should communicate meaningConnect with Anne BrittWebsiteFacebookYouTubeConnect with Jason TonioliWebsite FacebookYouTube InstagramSpotifyPandoraAmazon MusicApple Music

There has been a lot of headlines in recent months about crime on the CTA following high profile incidents in late 2025, ongoing tension with the feds over the presence of cops on public transit, and an overall feeling that even after improvements in hirings and wait times, CTA still has a lot to do concerning rider experience and safety. Executive producer Simone Alicea and host Jacoby Cochran are discussing recent public transit crime statistics. Plus, the city council is proposing a new tourism improvement district, and listeners have thoughts on Waymo in Chicago. Good News: Annual Chicago Birthday Party Want some more City Cast Chicago news? Then make sure to sign up for our newsletter. Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this March 3 episode: Access Contemporary Music – Use promo code PIANO for 20% off Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Forever Yours: The Farewell Performance captures two concerts from jazz pianist Chick Corea played only months before his passing in 2021. The album recently got a physical release. Collaborator and jazz bassist Christian McBride discusses Corea's legacy. He joined Corea in another posthumous release, Trilogy 3, which earned a Grammy Award this year. Photo courtesy Christian McBride

She built it. It worked. And then God asked her to let it go.In this episode, we sit down with Joleen Steel — minister, former music studio owner, and co-leader of Camping Stick Kids — to talk about what it really means to build something that grows God's Kingdom while also stretching your faith and your creative gifts. You'll learn how to create a purpose-filled brand without tying your identity to it, thinking bigger for the Kingdom without chasing fame, and trusting God when the next step feels larger than your comfort zone.If you've ever felt the tension between what's working… and what God may be asking you to build next, this conversation is for you.Learn more about Camping Stick Kids here - campingstickkids.orgTap to send us a text! Don't Build Your Creator Lifestyle Alone. Join the Community! In our 360 Creator Community, you get focused encouragement, guidance, and training on how to thrive as a God-centered creator. Joining gives you access to our app, workshops and community conversations, so you can stop being isolated and frustrated and start enjoying creative confidence! Join today!GodandGigs.com/membershipSupport the showPODCAST MERCHGet God and Gigs themed gear, clothing and accessories HERE! GOT VALUE FROM THIS PODCAST? If so, please share your: TIME: Send this episode to someone who you know would enjoy it TALENT: Email your art or music to add to our community to allen@godandgigs.com TREASURE: Tap HERE to help support God and Gigs with a donation! Want to be a guest on The God and Gigs Show? Send us a message on PodMatch, here!

Por mucho que hoy John Field suene a Chopin, toda la vida tuvo que escuchar el maestro polaco que sus nocturnos sonaban al compositor irlandés.

Our journey looking at a century of the movies directed by women brings us to a turning point. The 1990s saw a huge upswing in women-directed films. We take a look at Jane Campion's "The Piano", Kathryn Bigelow's "Strange Days", Beeban Kidron's "To Wong Fu, Thanks For Everything! Julie Newmar", and Kasi Lemmons' "Eve's Bayou". Hosted by Brad Garoon and Jake Ziegler0:00 Introduction |0:38 The Piano |11:26 Strange Days |22:40 To Wong Foo, Thanks for Everything! Julie Newmar |30:42 Eve's Bayou |40:08 Top Women-Directed Movies of the 1990s

March in Chicago means heading to the voting booth, dying the river green, and trying to stay optimistic about spring weather. Host Jacoby Cochran is joined by newsletter editor Emmi Mack and creator Paige Serena to talk about St. Patrick's Day plans, even more restaurant weeks, and where to find pepper-and-egg sandwiches during Lent. Good News: Thalia Hall Free for All Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter. Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this March 2 episode: Access Contemporary Music — Use promo code PIANO for 20% off Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Your piano recital theme doesn't have to be complicated — but it can be memorable.

Consider taking out a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomaven Richard Strauss' youthful and irresistible Burleske for Piano and Orchestra is the topic for this episode, where Jed discusses key recordings from the 78 and mono LP era, as well as top recent releases and several historical documents.Here are links to some of the performances discussed:William Kapell 1948 broadcast - https://www.youtube.com/watch?v=ixCnmQ3Yu6YClaudio Arrau 1946 recording - https://www.youtube.com/watch?v=JUjK8EeOBE0Byron Janis - https://www.youtube.com/watch?v=iCAZrVvn3cgRudolf Serkin (mono recording) - https://www.youtube.com/watch?v=Bfgd8Y72p0MMarc-André Hamelin - https://www.youtube.com/watch?v=tpMFfs_RP44Martha Argerich - https://www.youtube.com/watch?v=Do7ppwLTvP0Joseph Moog - https://www.youtube.com/watch?v=mK4LC-dU1bAMalcolm Frager - https://www.youtube.com/watch?v=3uOwazyJYVI

In this episode we sit down with Justin Michael Cahoon to talk about learning to play piano, teaching, writing, and lots more.  We take a deep dive on Justin's experimental hip hop project and his current work with the Bryan Reynolds Group.  He also tells about his event music services - Unique Music Entertainment. You can find more information about Justin's Piano lessons, and music books at: https://justinmichaelcahoon.com The Bryan Reynolds Group: https://bryanreynolds.group Justin's hip hop project - The Jae https://open.spotify.com/artist/2kKPaMuWI3wrvacoljN7AH?si=pA35x6L0SeiBhc4BG--rAg Event Music Services - Unique Music Entertainment: https://ume.events   SUPPORT THE NETWORK: REVIVALMOTORING.COM/B4B

Durante la nostra crescita tendiamo mettere sempre più la vita in secondo piano. Cosa intendo? Che schemi e automatismi prendono il posto dei sensi, così perdiamo la capacità di godere di un tramonto, di gustare il cibo e di apprezzare una carezza… sembra un'esagerazione? Ascolta la puntata e leggi li post..Clicca qui per approfondire (link attivo dalle 5:00 am del 02/03/25) https://psinel.com/la-vita-in-primo-piano-come-tornare-davvero-a-vivere-pienamente/Vuoi Imparare a Meditare? Scarica Gratis Clarity:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://clarityapp.it/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Iscriviti alla Newsletter https://psinel.com/re-iscrizione-alla-newsletter/Se ti piace il podcast adorerai il mio Nuovo libro: “Restare in piedi in mezzo alle Onde - Manuale di gestione delle emozioni”...⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://amzn.eu/d/1grjAUS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠https://www.instagram.com/gennaro_romagnoli/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠I NOSTRI PERCORSI ONLINE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠https://psinel.com/corsi-online/⁠⁠Credits (traccia audio): https://www.bensound.com

关于告别。我一直觉得最可怕的，就是面对它的到来而毫无还手之力——事件会终结，人们会离去，但我们还在原地；无论是早有预期还是晴空霹雳，做怎样的心理准备，都无法抵挡那份冲击。而且，我们最终都只能以自己的速度和节奏去承受、消化。没有人可以指望。 这时我们才更加需要朋友的倾听，需要音乐的关怀。只有这样我们才能稳固住生活的框架，不会在告别中失去全部。 这期节目为你放送关于家人、长辈、亲情与血脉的歌。 曲目单： (00:00) Tindersticks - Here (08:29) R.E.M. - Perfect Circle (11:46) Japanese Breakfast - In Heaven (17:06) Jordan Rakei - Family (20:28) Arcade Fire - In The Backseat (27:47) Sufjan Stevens - Eugene (30:10) Big Thief - Mythological Beauty (36:25) Loyle Carner - Sun Of Jean (41:27) Sampha - (No One Knows Me) Like the Piano (45:25) Cleo Sol - Build Me Up (53:51) Jeff Parker - Max Brown (01:01:14) Michael Kiwanuka - Stay By My Side 《周末变奏》开通豆瓣页面，欢迎标记、点评。 → 选曲/撰稿/配音/制作/包装：方舟 → 主题音乐：Yu Su → 题图版式：六花 → 题图照片拍摄于第十五届上海双年展，罗瑞·康，《金达莱II》，2025年。 → 私信/合作联络： 小红书/微博/网易云/小宇宙 @线性方舟 → 《周末变奏》WX听友群敲门群主：aharddaysnight

I couldn't be more excited to share today's conversation with Sam Riddle. During our chat, we talked about our love for piano and writing story-driven and authentic music. Also, Sam talked about his incredible experiences performing in Vegas and his latest single, “Drink With Your Name on It.” I had a blast chatting with Sam, so I hope you love listening to our conversation.Are you enjoying Write on Track? Do you have a topic suggestion for an episode? Would you like to be a guest? Email me at writeontrackpodcast@gmail.com. Also, I'd love to connect with you. My official website is http://demimschwartz.com, and you can find me on Twitter at http://twitter.com/demimschwartz, Instagram at http://instagram.com/demimschwartz, and Facebook at http://facebook.com/demimschwartz.Thank you so much for listening. Until next time, stay “write on track!”

Ammiel Bushakevitz is a celebrated pianist and chamber musician whose journey through classical music has taken him across six continents, performing in prestigious venues such as Carnegie Hall, the Concertgebouw, Wigmore Hall, among many more. Born in Jerusalem and raised in South Africa, he discovered his passion for music early on, later studying in Leipzig and Paris under renowned teachers. Ammiel has a particular affinity for the art song, collaborating with leading vocalists and releasing multiple award-winning recordings, including the ambitious project to record all of Schubert's piano works by 2028.In this engaging conversation with Tony, Ammiel reflects on his deep connection to Schubert's music, exploring themes of joy and melancholy that resonate in the composer's works. He shares personal anecdotes about his musical journey, the evolution of his interpretations, and the importance of musical spontaneity in live performances. With insights into the nuances of piano playing and his collaborative experiences with singers, Ammiel's reflections reveal the profound impact of music on both his life and artistry.

Hello Beautiful, I'm so grateful you're here with me.

Mother in the Wild reads "The Bear and the Piano" by David Litchfield.Join us on skool.com/motherinthewild to become a premium member and download our recordings, receive discounts on Requests + Dedications, as well as join us for bi-weekly Storytime Lives with Mother in the Wild. Subscribe today to receive an affiliate link and start earning on the memberships of YOUR friends, families and communities!skool.com/motherinthwild

Why are fewer than half of the county judicial races in this year's primary elections uncontested? Where are Rev. Jackson's homegoing services being held in Chicago? What's going on with that fleet of Waymo cars parked in a downtown parking garage? We're answering these questions and more with freelance writer Natalie Christian-Frazier and Block Club Chicago's Jamie Nesbitt Golden. Plus, we are showing love to Kennedy-King's iconic radio station, North Lawndale's Peace Runners 773, and Englewood's Girl Scout troop. Want some more City Cast Chicago news? Then make sure to sign up for our newsletter. Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Feb. 27 episode: Steppenwolf Theatre Griffin MSI Access Contemporary Music – Use promo code PIANO for 20% off South By Southwest – Unlock a 10% discount on your Innovation Badge when you use code citycast10 Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Comment on this episode by going to KDramaChat.com Today, we'll be discussing Episode 14 of Start-Up, the hit K Drama on Netflix starring Bae Suzy as Seo Dal-mi, Nam Joo Hyuk as Nam Do San, Kim Seon Ho as Han Ji Pyeong, Kang Han Na as Won In Jae, and Kim Hae Sook as Choi Won Deok. We discuss: The songs we featured during the recap: My Dear Love by Suzy, Merry Go Round by Kim Dong Hyeok, Tears of Piano by Park Sejun Listener Jeff's comment about Yong San's revenge arc — was it a red herring, and why the storyline ultimately became more about Han Ji Pyeong's growth than actual danger. Why this episode is titled “Elevator Speech” - the literal and emotional elevator pitches that change minds in under a minute, especially SDM's desperate appeal to Do San. Seo Dal Mi's humiliation spiral: the hacked company, no back-ups, spilled coffee, pride, and why she couldn't take Do San's calls after he saved her company. Han Ji Pyeong's complicated tenderness — hiding Dal Mi under the desk, switching from “Dal-mi-shi” to “Seo 대표님,” threatening Do San in the elevator, then immediately confessing the truth. Do San's breaking point: the returned baseball from Park Chan Ho, his father's quiet wisdom, the five-hour bike ride to the cabin, and the symbolism of throwing something away that you cannot forget. The full-circle moment: Dal Mi once begged to be CEO at the hackathon; now she's begging the Samsan Tech trio to join CheongMyeong; this time, desperation wins. Yong San's maturity arc — seeking out honest criticism from Ji Pyeong, apologizing for blaming him for his brother's death, and asking the fundamental question: do we want to code or run a company? Chairman Yoon's sharp reminder that investors who fund companies without business plans are “garbage,” and a discussion of due diligence and startup discipline. The sisters' evolving relationship: Dal Mi accidentally calling In Jae “언니” before correcting herself to “대표님,” and In Jae filing paperwork to change her name back to Seo after realizing her grandmother's eyesight is failing. Words that wound: from Ji Pyeong's harsh Demo Day critique to Dal Mi's breakup lines — “You're not the one I loved” — and how language shapes identity and destiny in this episode. The epic piggyback ride across the land bridge, the bandana wrapped around Dal Mi's scraped knee, the wrist grab, hair touches, and that meaningful head-rest while she sleeps. What we're watching now: Summer Strike, While You Were Sleeping (a mini Start-Up reunion!), The Art of Sarah starring Shin Hye Sun, and narrowing down contenders for Season 14 — including Signal, My Mister, Resident Playbook (or maybe Hospital Playlist!), Our Unwritten Seoul, and more. References https://en.wikipedia.org/wiki/Yeouido Waiting on a Wish by Bae Suzy Yes No Maybe Dance Practice with Bae Suzy How to play rock✊