Podcasts about quantum drive

El último peldaño (18/05/2024) PARANORMAL, YO. UN EDITOR ESCÉPTICO EN “LA NAVE DEL MISTERIO” Los espectadores de Cuarto Milenio que cada noche de domingo vibramos con las experiencias de los reporteros y colaboradores del programa, aprendemos con los debates, entrevistas y reflexiones de Iker, seguramente no imaginamos el complejo proceso de edición, documentación, producción y montaje que permite que todo eso llegue a nosotros tal y como llega. Una de las fases más críticas de todo programa de TV (y sobre todo el Cuarto Milenio) es la edición. Esta noche conoceremos los secretos que encierra ese universo que habita la mesa de edición y el ordenador, así como sus propios misterios. Hablamos con Juan Berrueta, uno de los editores de Cuarto Milenio y autor del libro “Paranormal, yo. Historias de un editor escéptico en la Nave del Misterio”. EL MOTOR CUANTICO QUE DESAFIA LAS LEYES DE NEWTON En noviembre del pasado año fue lanzado al espacio el satélite Barry-1 a bordo de un cohete Falcon 9 de SpaceX. La nave formaba parte de la misión Hello World de Rouge Space Systems, El objetivo era demostrar las capacidades del revolucionario Quantum Drive y la plataforma de computación escalable (SCP). El Quantum Drive es un motor concebido según la teoría de la inercia cuántica propuesta por el físico británico Mike McCulloch, que opera generando un empuje a través de la interacción con el vacío cuántico. Cuando estaba todo a punto para probar los dos motores quánticos se produjo la pérdida de comunicación con la nave, desapareciendo en el espacio. Con nuestro experto en temas científicos, el Dr. Israel Ampuero, hablamos del “Quantum Drive” y sus fundamentos físicos, así como de su aparente conflicto con la tercera ley de la mecánica de Newton. También Enrique Lucas nos habló de las inusuales auroras boreales de los pasados días. Dirección y presentación: Joaquín Abenza. Con la colaboración de María José Garnández, María Chicano y Enrique Lucas. Blog del programa: http://www.elultimopeldano.blogspot.com.es/ Programa emitido en Onda Regional de Murcia

On today's episode, guest co-host and Debrief veteran Kenna Hughes-Castleberry joins MJ Banias and Stephanie Gerk to talk about the resurgence of an ancient mystery, a new study that seems to prove cannabis improves empathy, and the historic launch of the first quantum drive into outer space.  Check out Kenna's website here: https://kennacastleberry.com/ And follow her on Twitter: https://twitter.com/kennaculture?lang=en     Every Tuesday, join hosts MJ Banias and Stephanie Gerk as they roundup the latest science and tech stories from the pages of The Debrief. From far-future technology to space travel to strange physics that alters our perception of the universe, The Debrief Weekly Report is meant for the dreamers who love the science and technology of the future.   For the articles discussed in this week's episode, visit The Debrief at: https://thedebrief.org/   Follow The Debrief on Twitter: https://twitter.com/Debriefmedia Follow MJ Banias on Twitter: https://twitter.com/mjbanias Follow Stephanie Gerk on Twitter: https://twitter.com/stephgerk   Have something to tell us? Email the show at: weeklyreport@thedebrief.org

Recorded on 7/16/2023 - Adam is back from vacation and joins Topher for another amazing episode. Lots to cover from Congress and the Senate becoming serious, to UFO summer festivals. Topics Discussed: Turkey UFO thread here. Electric flying car here. UFO Secrecy and the fall of Oppenheimer presentation here. Quantum Drive test here. Rep Tim Burchett on UFOs here. Vallee's perspective on the phenomenon here. Marco Rubio on the UFO witnesses here. CIA "gateway process" here. Congressman says UFOs might be from ancient civilization here. UFO amendment covered by the Hill here. Newsnation - Whistleblowers scared to speak out here. UFO clock here. Kecksburg UFO festival here. Salmon Creek UFO festival here. Exeter UFO festival here. Iran fails to shoot down UFO here. Pfizer's CRISPR experiment with vax is disturbing here. Multiple UFO reports on FAA hotline here. NBC finally covering the UFO issue here. UAP is sponsored by ⁠⁠⁠⁠Qinneba⁠ ⁠⁠⁠(formerly the ⁠⁠⁠⁠CBD Online Store⁠⁠⁠⁠,) home of the best ⁠⁠⁠⁠CBD gummies⁠⁠⁠⁠, ⁠⁠⁠⁠tinctures⁠⁠⁠⁠, ⁠⁠⁠⁠creams⁠⁠⁠⁠, ⁠⁠⁠⁠vapes⁠⁠⁠⁠, and ⁠⁠⁠⁠smokes⁠⁠⁠⁠. All independently tested for purity and potency. Subscribe to our Podcast ⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠, on Twitter ⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠ , and follow Topher ⁠⁠⁠⁠here⁠⁠⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/uncovering-anomalies-podcast/support

Flute-playing soul-jazz phenomenon Ragan Whiteside has become one of the genre's most consistently dynamic and popular artists. Thanks to her incredible skill and creativity on her chosen instrument, as well as her charismatic presence on stage, Whiteside is at the top of her game. That was demonstrated in October 2022, when she became the first artist to win the competitive Best Contemporary Jazz Artist Award at the inaugural Jazz Music Awards, held at the Cobb Energy Centre in Atlanta. Whiteside is also a 2023 NAACP Image Award Nominee and four-time nominee for the Smooth Jazz Network's Best Artist Award. That distinction is well-deserved, as the Atlanta-based musician, songwriter, and vocalist have become one of very few women players to excel in the male-dominated instrumental sphere, garnering eight consecutive Top Ten Billboard airplay singles by 2022. And she's done it as an independent artist, releasing projects on Randis Music, the label she founded with her husband, producer, and composer Dennis Johnson. Her most recent full-length project, 2022's Thrill Ride, is her sixth career album to date and it lives up to its title, demonstrating Whiteside's breathtaking virtuosity and melodic skills on a thrilling journey through a landscape of dynamic grooves. The project features eight songs, which are largely produced by her longtime collaborators Dennis Johnson and Bob Baldwin. Other producers include Chris “Big Dog” Davis on the sexy update of Stevie Wonder's “Don't You Worry Bout A Thing,” and James Lloyd of the veteran group Pieces Of A Dream, who contributes “A Toast At Sunset” as writer and keyboardist as well. Her third single from the project, “Full Court Press,” is a smooth and sexy groove co-written by Whiteside with the team of Johnson and Baldwin, who produced, and featured guitarist Phil Hamilton and drummer Rich Harrison, also known as the artist RAH. Whiteside's previous single was the title track, “Thrill Ride,” which was also written and produced by Johnson, Baldwin, and Whiteside, and features guitarist Hamilton and drummer RAH. The single peaked at No. 1 on five radio charts, including the Billboard Smooth Jazz Chart, Mediabase, the Smooth Jazz Network, Radiowave and Groove Jazz Music. Her previous single from the set, “Off The Cuff,” not only peaked at No. 7 on the Billboard Smooth Jazz Airplay chart, where it spent 17 weeks, but it also earned her the Jazz Music Awards nomination that she ultimately won. In addition to her projects, Whiteside has been a busy collaborator. Over the last two years, the native New Yorker also charted at No. 1 on the Billboard Smooth Jazz Airplay chart for her collaboration with Kim Scott's 2022 remake of Ashford & Simpson's 1978 mega-hit, “I'm Every Woman” along with Althea René, which peaked at No. 1 on the Billboard Smooth Jazz chart. Whiteside also co-wrote Bob Baldwin's top-charting hit, “B Positive,” with production partners Dennis Johnson and Baldwin. Additionally, she is featured on “This Time Around” with contemporary jazz artist Jarez, from his latest project, J Funk City. In 2022, she appeared on two tracks, “Seven Eight” and “Solo,” on veteran jazz drummer Billy Cobham's new album, Drum'N'Voice Vol. 5. Whiteside has continued to delight fans and critics alike with her engaging, upbeat melodies and exhilarating flute playing. Tunes like “Thrill Ride,” “Off The Cuff,” “JJ's Strut,” “Reminiscing,” “Jam It,” “Early Arrival,” “See You At The Get Down,” and the Billboard No. 1 “Corey's Bop” have burnished her reputation. But while Whiteside has made her mark fusing inspired flute melodies and breathtaking solos with hip upbeat grooves, she gained her musical acumen by training as a classical flutist. Originally from Mount Vernon, New York, Whiteside played drums, piano, and violin in elementary school before a desire to be in the marching band put the flute in her hand at age 8. “They had this thing called Band Day where all the public schools would march in a parade through Mount Vernon. I said, ‘Oh. I need to be in this parade.'” There were no violins in the marching band, so Whiteside was offered the flute. “I did not want to play the flute. And it took me about a week to get a sound out of it,” she says. But once young Whiteside locked onto the instrument, she immediately focused on what kind of music she wanted to play but was steered into a more traditional path. “My parents got me a private teacher. I said to my teacher, ‘Okay, I want to do jazz.' And he was like, ‘No, you're going to play classical,'” Whiteside recalls. “‘I don't want to play classical.' ‘Well, you can play jazz later, but you need to get your foundation in classical music.' Once again, I was being forced into something, but I started playing and I started getting good at it, and I started to like it.” The young flute player got good and got serious. She participated in Mount Vernon High School's Historically Black Colleges and Universities (HBCU-influenced marching bands), entered multiple musical competitions – some with cash prizes – and won. Members of the National Association of Negro Musicians mentored her, many of whom held positions as opera singers, orchestrators, music directors, and instrumentalists in classical music at a time when African Americans were still not often included. She also participated in the NAACP's ACT-SO (Academic, Cultural, Technological, and Scientific Olympics) competitions for young people, where she won both regional and national titles in two different years. With these distinctions under her belt, Whiteside went on to the Cleveland Conservatory of Music, where she was one of just six African American students. When she transferred to the highly competitive HARID Conservatory in Boca Raton, Florida, she discovered she was now the only one. After receiving so much encouragement and mentoring during her high school years, this was a culture shock. “I was on my own, there was no support, there was nobody I could go and talk to,” Whiteside explains. “On top of that, just being in a classical conservatory, it's cutthroat, it's competitive, it's hardcore. A lot is expected of you, and everybody's trying to go after the same five or six openings.” The pressure to perform was intense and her motivation for that life started to wane. During her senior year-end performance, for which she was to play a well-rehearsed, 20-minute flute concerto, Whiteside went blank halfway through. Offered the opportunity to start again, Whiteside realized she was at a turning point and instead walked out. Influenced by such diverse flute masters as jazz-classical player Hubert Laws, the late Latin jazz artist Dave Valentin, and the French classical flutist Jean-Pierre Rampal, Whiteside received rigorous musical training that prepared her to play in the most prestigious symphony orchestras in the world, but after graduation, Whiteside admits she wasn't sure what she wanted to do. Back home in Mount Vernon, she attended a show at a local jazz club where keyboardist, producer, and composer Bob Baldwin was headlining. While watching, Whiteside says she had an epiphany: “I was sitting up front and I said, ‘Oh my God. This is what I want to do.' ” After the show, she introduced herself to Baldwin. “I told him, ‘Look I'm a classical musician but I want to make the transition to jazz. Do you have any advice for me? And we talked for a while and he pretty much took me under his wing, right then and there,” Whiteside explains. “And two days later, I went to a studio in Yonkers, and it turned into my first non-classical studio session.” Whiteside performed a Stevie Wonder tune for Baldwin and studio owner Dennis Johnson, who later became her husband. “I played a Stevie Wonder tune, and they're like, ‘Hey, we need some flute on this jingle for [New York smooth jazz station] CD 101.9.' And I did that, and from there Bob taught me how to make that transition from classical to jazz, and Dennis showed me the ins and outs of audio recording and using computers to compose music.” Since then, Johnson and Baldwin have become Whiteside's frequent songwriting collaborators. Whiteside instantly began her successful foray into the contemporary soul-jazz sphere. After launching the Randis Music label in 2007 with her husband Johnson, she collaborated with Johnson and Baldwin again on her 2007 release Class Axe, 2012's Evolve, 2014's Quantum Drive, 2017's Troublemaker, and 2020's five-track EP Five Up Top. She also teamed with popular saxophonist Kim Waters for the 2017 release Early Arrival. She has collaborated on tracks with several artists including Marion Meadows, Patrice Rushen, Tom Brown, Walter Beasley, Melba Moore, Chieli Minucci, Frank McComb, and others. She has also been a popular performer at the Berks Jazz Fest, the Seabreeze Jazz Festival, the Mallorca Smooth Jazz Festival in Spain, and the Capital Jazz Super Cruise. Meanwhile, Whiteside and her husband Dennis Johnson made the jump from New York to Atlanta when it became clear that Atlanta offered a more attractive lifestyle. Further, digital technology has made it easy to produce and distribute music from anywhere. “Atlanta is like a hub,” Whiteside explains. “You can get to so many different places relatively quickly from Atlanta. For the first time, we were able to get to New Orleans, Nashville, Houston, the Carolinas, and all over Florida without having to fly, and every place we went, we experienced new musical influences.” Whiteside has also maintained a career as a tech consultant and her role as a mother of two. In late 2020, Whiteside added another title to her list of accomplishments: Radio personality. Spotted at a show by David Linton, a former label executive and current program director of Atlanta's station, Jazz 91.9 WCLK, Whiteside was offered the opportunity to audition as a host. She now holds down the popular No. 1 Saturday morning show “Saturday with Ragan Whiteside, ” another role she has grown to enjoy. With so many professional balls to juggle, and the concert industry opening back up, Ragan Whiteside can lay claim to life as a contemporary jazz star as one big “Thrill Ride.” In this episode, Ragan shares her background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Jaxilly, and its intrepid PD Crew (and Sean) engage the Quantum Drive to travel to New Horizons, in this, the first Orville Bonus – Orville Redentalkin': The Orvillesode (An episode about The Orville).  This episode of the podcast is the guys talkin' the last four(ville) episodes of The Orvile: Season 3, the ones that went on AFTER Strange New Worlds stopped.  Along the way, they'll talk Star Wars, Trek, obviously, DOMINO HARVEY, and a surprising amount about Ms. Marvel.  I think it's safe to say these guys like the Orville.  ORVILLE ORVILLE ORVILLE MY NAME IS DOMINO HARVEY I AM A BOUNTY HUNTER

After 3 years of Quantum Drive, Rob and Katie take some time to answer listener questions and share more about themselves. The post Meet the Hosts appeared first on The Geek Generation.

After 3 years of Quantum Drive, Rob and Katie take some time to answer listener questions and share more about themselves. The post Meet the Hosts appeared first on The Geek Generation.

Fantastic Four Vol. 6 #11 from June 2019.  "License to Quantum Drive" by Dan Slott, Paco Medina, Kevin Libranda, Paolo Villanelli, and Juanan Ramirez.

Rob Logan and Katie Peters introduce Quantum Drive, a new podcast that discusses The Orville. The post Quantum Drive Intro appeared first on The Geek Generation.

Rob Logan and Katie Peters introduce Quantum Drive, a new podcast that discusses The Orville. The post Quantum Drive Intro appeared first on The Geek Generation.

Ragan Whiteside, the flautist-singer who catches the ear like few in the world of contemporary jazz can, is getting ready to make waves this May 12th with her fourth studio album, Treblemaker. A favorite of well-known stages such as Capital Jazz, Whiteside’s sound brings to mind the stylings of Najee and Dave Valentin. The preceding album, Quantum Drive, has received major airplay and acclaim by such publications as Jazz In M.E.E., and was described as “an enchanting and vibrant album” by Hans-Bernd Hülsmann of smooth-jazz.de. As its successor, Treblemaker promises a further expanse of Whiteside’s variety and style. Frank McComb, Kim Waters, Marion Meadows, and Tom Browne make their appearances on the album to lend their touch to a well-seasoned musical mix. Whiteside is not one to shy away from shaking up expectations. In contemporary jazz, where there is always a thirst for fresh material, she steps up and delivers, both in studio recording and on live stage. “Her tenacity makes her a force to be reckoned with. Mark my words!” said Bob Baldwin of her once, and this tenacity is obvious at every show and in every track. “We need new music!” the fans say, and Ragan Whiteside is always up to deliver exactly what they ask for. Still a New Yorker at her core and in her every note, Ragan Whiteside brings no shortage of sound to shake up some perceptions of what a flute – and a jazz artist – can do. (Souce: www.raganwhiteside.com) Follow Ragan on Facebook, Twitter & Instagram.

2014 has been an exciting year for Ragan, having won Flutist of the Year in the Black Women in Jazz & Fine Arts Awards, and looking forward to the highly anticipated release of her 3rd studio album, Quantum Drive.  This album pushes the boundaries of Contemporary/Urban Jazz and R&B even further and features collaborations with Bob Baldwin, Frank McComb, Althea Rene, and Patrice Rushen.