Podcast appearances and mentions of Ray Charles

[REDIFFUSION] Bienvenue dans Les Fabuleux Destins, le podcast qui vous fait découvrir des histoires vraies et étonnantes. Cette semaine, partez à la découverte de quatre récits parfois méconnus de figures emblématiques de la musique : Nina Simone, Fela Kuti, Ray Charles ou encore Marvin Gaye. Plongez dans une saison consacrée aux légendes de la musique africaine et afro-américaine, et plus particulièrement à leur part d'ombre. Le génie du blues  Un soir de 1965, Ray Charles est retrouvé gisant dans sa salle de bain, victime d'un accident lié à sa dépendance à l'héroïne. Derrière l'image du « Genius » adulé, se cache un homme rongé par les traumatismes d'enfance, la ségrégation et l'addiction. De la perte de la vue à la mort de son frère, Ray traverse les épreuves en s'accrochant à la musique. Malgré ses combats personnels, il deviendra une légende, symbole de lutte et d'excellence artistique. Cet épisode explore la face sombre et lumineuse d'un destin hors du commun. Un podcast Bababam Originals Ecriture : Mary Lou Oeconomou Voix : Florian Bayoux  Learn more about your ad choices. Visit megaphone.fm/adchoices

[REDIFFUSION] Bienvenue dans Les Fabuleux Destins, le podcast qui vous fait découvrir des histoires vraies et étonnantes. Cette semaine, partez à la découverte de quatre récits parfois méconnus de figures emblématiques de la musique : Nina Simone, Fela Kuti, Ray Charles ou encore Marvin Gaye. Plongez dans une saison consacrée aux légendes de la musique africaine et afro-américaine, et plus particulièrement à leur part d'ombre. Une vie de lutte et de génie musicale  Montreux, 1976. Nina Simone remonte sur scène après deux ans de silence. Le public découvre une artiste instable, brillante, déroutante, entre fulgurances musicales et ruptures de ton. Ce soir-là, sa voix claque, tremble, gronde, tandis que sa douleur affleure. Derrière l'icône, une femme rongée par la maladie, la rage, et un destin brisé. Voici l'histoire de Nina Simone, pianiste prodige, militante incandescente et diva tragique. Un podcast Bababam Originals Ecriture : Mary Lou Oeconomou Voix : Florian Bayoux Learn more about your ad choices. Visit megaphone.fm/adchoices

** PLEASE SUBSCRIBE ** Featured in WYGYFF Episode 41: Accomplished soul, funk, rock and jazz drummer Manny Kellough. His impressive credits encompass 25 years playing with Billy Preston, including most of his biggest hits; Larry Graham and Graham Central Station – as The Deacon heard on “The Jam” and other classics; Ray Charles; the Rolling Stones; Freddie Hubbard; Barry White; Quincy Jones; and many others. His Preston recordings include the mega-hits "Outa-Space," "Space Race," "Will It Go Round in Circles" and "Nothin' From Nothin'."  For more than 20 years he has led The Manny Kellough Jazz Quartet, having released CDs and a DVD under that name.  RECORDED SEPTEMEBER 2025 Hosted by Scott "DR GX" Goldfine — musicologist, author of “Everything Is on the One: The First Guide of Funk” and creator/host of the popular TRUTH IN RHYTHM podcast — "Where'd You Get Your Funk From?" is the latest interview show brought to you by FUNKNSTUFF.NET. Where'd You Get Your Funk From (WYGYFF) is an open format video and audio podcast focusing on the here and now, with a broad range of creative and artistic guests sharing fascinating stories, experiences, and perspectives. WYGYFF is a welcoming avenue to newer and independent musical acts as well as established and still active musicians of any genre; authors; filmmakers; actors; artists; collectors and archivists; radio & podcast personalities; journalists; scholars; sound techs; promoters; photographers; and other creative people. A common thread, is the show's standard opening question: Where'd you get your funk from? This is much deeper than it may seem as the answer need not be strictly about funky music, as not everyone has found the funk. It could hit on whatever type of music touches their soul or pleasure centers. Additionally, the question extends beyond music. Paraphrasing George Clinton, funk is whatever it needs to be to get you over the hump. Thus, guests can explain where they got their grit, perseverance, inspiration, talent, creativity, character or other qualities that shaped them into who they are today. This serves as a springboard into candid, in-depth and engrossing conversations. LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

[REDIFFUSION] Bienvenue dans Les Fabuleux Destins, le podcast qui vous fait découvrir des histoires vraies et étonnantes. Cette semaine, partez à la découverte de quatre récits parfois méconnus de figures emblématiques de la musique : Nina Simone, Fela Kuti, Ray Charles ou encore Marvin Gaye. Plongez dans une saison consacrée aux légendes de la musique africaine et afro-américaine, et plus particulièrement à leur part d'ombre. Le destin tragique du prince de la soul  Marvin Gaye est paranoïaque, enfermé chez lui, hanté par ses démons et les drogues. Le 1er avril 1984, une dispute éclate avec son père. Quelques minutes plus tard, ce dernier revient armé et lui tire dessus à bout portant. Marvin s'effondre. Il meurt la veille de ses 45 ans. Derrière cette fin tragique, le parcours bouleversant d'un génie de la soul, entre foi, violences familiales, engagement politique et chute intime. Un podcast Bababam Originals Ecriture : Mary Lou Oeconomou Voix : Florian Bayoux  Learn more about your ad choices. Visit megaphone.fm/adchoices

Send a textThe Minnesota Twins continue their Grapefruit League games and continue to whittle down the roster. Andrew "Hoges" Hoganson fills in as Dan Thompson is busy covering his EWU Basketball team. The guys discuss the recent MLB news including new signings and suspensions, and give their takes on the Athletics' fan survey questions. The boys try to sort out which outfielders should make the big league roster, and David offers some unexpected praise to the Twins front office. Thanks for listening, and as always, go Twins! The Gran Group with Edina Realty TWIN CITIES AREA REALTORS TO MEET ALL OF YOUR HOUSING NEEDS! Pulltab SportsMN for the Win is part of the Pulltab Sports Network - covering sports, culture, and entertainment aDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showMusic: "Minnesota Twins Theme" (1961) written by Ray Charles and Dick Wilson. Arrangement and performance by Jason Cain.Twitter/X: @MNfortheWin Facebook: https://www.facebook.com/MNfortheWinInstagram: https://www.instagram.com/mnforthewin/ Website: https://mnforthewin.buzzsprout.com/ Puckett's Picks Scoring 1pt per Base (H/BB/HBP) | 1pt per SB | 1pt per RBI -1pt per K | -1pt per Error | -2pt per GIDP +0.5 Point Bonus if Winning Player is Top Team Scorer Tie Breaker 1. Most HRs 2. Least Ks 3. Least LOBListeners always pick first, lowest score between Dan/David/Hoges picks second for next series

On this episode of National Disability Radio, we sit down with award-winning recording artist, advocate, and author Lachi for a powerful conversation about disability pride, music, and unmasking. Lachi shares her journey, from navigating the music industry as a blind artist, to founding RAMPD, a coalition amplifying disability culture across the industry. We talk about what it means to say “I identify as blind,” move beyond the medical and social models of disability into a cultural model rooted in identity and joy, and remind listeners that no one can defeat someone who hasn't given up. From glam canes to Grammy stages, this episode is about claiming space, rejecting internalized ableism, and turning perceived flaws into flexes. Transcript: Alden Blevins: It’s Lachi? I feel very- Lachi: Lachi like Versace. Alden Blevins: Lachi like… Oh, I love that. Michelle Bishop: That is the best way to explain it. Lachi: I mean, but you know what I’m saying? Come on. Alden Blevins: Well, we’re really excited about having you today because we’re all music lovers in this group here. Michelle Bishop: Yes. Alden Blevins: We talk about music all the time. Michelle Bishop: So much. Lachi: Good, good, good, good, good, good, good. I’m in the right place. Michelle Bishop: Hi everyone. Welcome back to National Disability Radio, the official podcast of the National Disability Rights Network. I am Michelle Bishop, 1/3 of your podcast hosting team. Stephanie Flynt McEben: And I’m Stephanie Flynt McEben, public policy analyst here at NDRN. Alden Blevins: I am Alden. I am a communication specialist at NDRN and I am so excited today, like I mentioned, we’re all lovers of music, so we got a guest that I’m really excited about. Lachi is an award-winning recording artist and a recording Academy Grammy’s national trustee. She’s also a disability advocate who’s been breaking barriers in the music industry and beyond. She’s the founder of RAMPD, which by the way, is such a fun play name. I really love that. And the author of the upcoming book, I Identify as Blind. So without further ado, Michelle, you’ve got some questions to kick us off, I think. Michelle Bishop: Yes. We’re so excited to have you with us. As Alden said, we are. We’re huge music lovers. I’m pretty sure we spend most of our meetings where we allegedly plan this podcast just talking about music. So you’re absolutely in the right place today, but to get us started, I mean, you’ve been open about the fact, and I’m just really interested in this as a disability rights podcast. You’ve been really open about the fact that it took you some time to really embrace your identity as a blind and disabled woman, especially in the industry that you’re in that often really rewards conformity. Can you tell us a little bit more about that journey for you, both as an artist and as someone navigating just the world with a disability? Lachi: Okay. Yeah, for sure. Hey, everybody. Lachi here, Lachi like Versace. I am a Black woman with cornrows, chilling here in New York in my studio. I also identify as blind, I identify as neurodivergent, and I identify as an Aries. So do with that what you will. Michelle Bishop: All the important points right there. Lachi: All the important points like name, age, sign. Thank you. Okay. Yeah, but I’m really glad to be here. And thank you for that question, and thank you for having me. So music has always been a very integral part of my life of growing up. Where other babies would kick in the womb, when she was pregnant with me, I was playing the piano in the womb. I don’t know how she got a piano in there, but she’s not a liar, so I’m going to take her word for it. When I was super-duper young, I didn’t really have a lot of friends, especially because of the fact that I had differences and this and that. And so I would take to music to, I guess, understand the world better and have the world understand me better. I just knew how to express myself through song and it just said the things I needed to say. It was the prayer I needed. And because of music, I started to find confidence in how to speak and how to behave and how to act. And as I got older, when I was growing up, disability was not necessarily a thing people talked about a lot in schools and teachers didn’t know what to do. My parents didn’t really know what to do. And so I would always just turn to music. It’s actually right now I’m working on a children’s album because I think that kids need to hear music that has to do with disability and neurodivergence, as well as their parents as they grow up. When I got into college, I started wanting to do music, but I studied business and finance because when I told my parents I wanted to do music, they were like, “That’s not how you spell doctor.” because they are Nigerian immigrants and everybody else in my family went to either med school and blah, blah, blah. And I was like, “No, I want to do music.” But I did get a day job after school, after college, and didn’t love it because this girl is not going to exist behind a desk. So I ended up going to South by Southwest and I got signed actually from playing the guitar at a hole in the wall spot that nobody was at, except for this A&R apparently. So we got signed to an imprint under EMI, which was a major label back then, and we started touring and music then became my life. Now today, why wouldn’t I pay my respects back to music? I mean, it’s because of music that I was able to really lean into who I am, my disability, my confidence, et cetera. So because of that, because of how much music has given to me in my life, I’m here using music to give back to other people with disabilities. Now, your question was essentially, how do you sit here and try to bring about change for disability in an industry that is not only about conformity, but also about like, “Hey, pick me to exploit.” is essentially what the music industry is. You’re raising your hand to be exploited and that’s what kind of authenticity is that? But at the end of the day, music is some of the truest forms of storytelling. And I think to myself, just the way that hip hop has amplified Black culture and the way that country music has amplified rural culture and the way that different global musics have represented different global cultures. I want to use music to amplify disability culture. I want to use music to amplify disability stories and feelings that are difficult to put words to, that are words of the soul, which is essentially what music is. And so I started going to studios and realizing things weren’t as accessible as they should be. I started speaking with organizations and realizing things weren’t as inclusive as they should be. And the response I kept getting was like, “Oh, well, there’s nobody with a disability in the music industry, so why would we make these measures?” And so I have made it my life’s goal through RAMPD, which by the way, the best thing we ever accomplished was our acronym, not us working with the Grammys to get sign language on the red carpet, not us getting these partnerships with title, Live Nation, Spotify. I mean, we’ve done so much, not just for artists, but also for professionals. And we’ve started to realize something really interesting with the work we’ve done with RAMPD. We are getting people joining our membership who are director level folks, who are label owners, who are like the big wigs that write the checks, and they’re like, “I’m neurodivergent. I’m actually hard of hearing. I have a TBI.” And so when I originally set out, they said, “We don’t do disability inclusion because nobody’s disabled.” That was three years ago. Now I’m like, not only are there neurodivergent and disabled music professionals out here, but we all are. So really to conclude, it’s just that everyone is navigating trying to make it out in this world, but everyone’s masking. Everyone feels that they have to change some part of themselves to be as close as they can to what success looks like, be as close as they can to what “beauty” looks like, what winning looks like. But really all it is internalized ableism. And I say, as soon as we drop that internalized ableism and we really start to sit in who we truly are and we start to recognize our perceived flaws as flexes, that’s when we truly start to win. And so that’s what we’re finding out with RAMPD, that people are like, “You know what? I’m tired of navigating this difficult industry with the added layer of having to mask.” And so that’s why I do what I do. Michelle Bishop: Yes. And honestly, as ridiculous as it sounds that they say to you, “Oh, there aren’t any people with disabilities.” When I tell you, we see that in everything that we do. I do voting work at NDRN and we’ll have elections officials tell us, “This polling place isn’t accessible, but there aren’t any people with disabilities that vote here.” And it’s like, “What? You realize we’re everywhere and we do all sorts of things.” Maybe the reason they think there’s no people with disabilities here is because they’re stuck outside and they can’t get in because you didn’t make it accessible, just a thought. But I mean, it sounds like coming up against all that is really, correct me if I’m wrong, helped you to develop that identity and that disability pride in the industry. When did you first say, “I identify as blind.” and what did that mean for you? Lachi: Well, so when I first came into really doing the disability thing, really leaning in, I wanted to find out more influencers or thought leaders and such with disabilities. I didn’t really know that many people. This is pre COVID, 2018, 2019, that kind of thing. And so I came across an influencer, her name is Molly Burke, and we’re great friends now, but I didn’t know her back then. I had just seen her tagline and it had said, “I’m Molly Burke and I’m a YouTuber who happens to be blind.” And for some reason I was like, “I don’t know if I love the happens to be blind thing.” I was like, “Well, I’m proud of being blind. Blindness is part of my identity. I don’t just happen to be a woman. I don’t just happen to be a Nigerian. I don’t just happen to be all of the things I am.” And so I would go to… I was touring… We’re always touring and every time I tour and do a show, I do a comedic open where I just introduce myself, I do a quick self-description, et cetera. And in my self-description, I would say, and I don’t just happen to be blind. My blindness is part of my identity, has given me all of the opportunities I have, and it’s really made me a deeper blah, blah, blah. It was just too long. So I had punched it up to be, “My name is Lachi like Versace. She, her, I’m a Black woman with cornrows and I identify as blind.” And the interesting thing about that is people took onto it. They were like, “Oh, that’s cool, nice and punchy.” But whenever I would say it in front of a large crowd or like I’ve said it on interviews or during commercials, I would get this weird, I don’t know, pushback of like, you can’t identify as blind. Blindness is an identity. It’s a medical condition. Or they’ll be like, “Do you read braille or not?” Or they’ll be like, “We don’t want people to think trans blindness is a thing where you just have a blind identity.” And then you can be like, “Well, I’m blind today, so that’s my identity.” And I thought that was really fun. I was like, “Look, everybody’s upset. They’re talking about blindness though.” So I really leaned all the way into it. And I have to say, I am super proud of my disability identity. Was it music that brought me there? I think in a sense and in a way, like today I have a few songs, you guys are music lovers, I have a few songs out that really talk about my disability pride. I think that a lot of the times as we navigate the world, masking our disability, masking our chronic condition, our difference or whatever, we end up overcompensating. We end up building up this really, really thick problem solving muscle or this really, really thick how to get around things muscle and we overcompensate. When we’re finally accommodated, when we finally get to a place where we’re accommodated or we have the tools we need, we’re coming in like bulk as hell. We’re coming in with problem solving muscles. We’re coming in with all of these things that we had to build up because of navigating the world differently, because of every day working through this very difficult maze that is living a life unaccommodated, then when we finally are accommodated, then we are killing it and crushing it. And how could you not be proud of that? How can that not give you a sense of pride? So the songs that I would love for you guys to check out that are mine is I have a song called Life on Hard, which has gone viral several times on Instagram. I’m known as an Instagram rapper, which is like, what? Hello, I do disability advocacy. Look at that stuff. But anyway, so I have a song called Life on Hard, which is essentially about just winning the game of life, playing it on the hardest setting out here while people are still trying to consult the manual. I have another song called Professional, which is oftentimes when I walk on the stage, people see the cane and they’re like, “Aw, she’s going to do a song for us. Is this from Make a Wish Foundation?” And then I bust out these raps or I hop on the piano and I go ape on this piano and then they’re like, “Oh, snap. What? Okay.” And I’m like, “Bro, I’m a professional artist. I’m not object for pity to make you feel good because you felt weird on a Monday and you didn’t feel like getting up for work, but it’s like, she could do it. So can I.” I’m like, “No, I can do it. You most likely probably just can’t.” So that’s what that song’s about. And then there’s The Bag, and The Bag is just essentially like, I’ve been told no so much like, “No, you can’t. No, you’re not good enough. No, we don’t want you.” And I’m like, “You know what? Yes, I am good enough and I deserve everything. So I’m going to throw everything I deserve in the bag, which is everything.” I don’t know. I would not be the person I am if I didn’t love all parts of myself. And that includes my disabilities, that includes my neurodivergences and all of the other wacky, weird body jazz that I bring with me everywhere I go. Michelle Bishop: Lachi, can we maybe, do you and I just FaceTime each other every morning and hype each other up? Stephanie Flynt McEben: I was literally about to say the same thing. I would like in on a true call. Michelle Bishop: I don’t know if you know. Actually, I want to say quickly, I know some of those songs actually from social media, but they’re real. They’re so real. So people haven’t heard music, go check it out. I don’t know if you know one of our co-hosts, Stephanie is blind. You’re speaking directly to her soul right now. Stephanie Flynt McEben: I literally just texted them in our podcast group text and I was like, she’s totally speaking to my soul RN, but of course I don’t want to interrupt anything. Michelle Bishop: No, I know you’re dying to talk to her about the book, Stephanie, and take it away. Stephanie Flynt McEben: Yeah, no, absolutely, for sure. And as somebody who is blind and who also identifies as a blind person and definitely does not identify with the medical model of disability, clearly gotten to more of a social model. But yeah, in terms of going through that journey of accepting all of who you are and everything about yourself, for me, I mean, it took a minute, especially when you’re talking about your experiences as a child and I totally feel that. I was that girl playing the harmonica on the jungle gym by herself. Anyway, this is about you. This is not about me, but I’m just saying that I totally relate to you on a spiritual level. And given that, I would love to know, were there any particular moments when it came to writing the book that were particularly hard or healing? Because I mean, I think that we all know that it’s not always a linear journey. Some days are going to be harder than others. And so would love to get your perspective on that. And I think that our listeners would be interested. Lachi: Yeah, absolutely. The journey for me has been one of constantly unwrapping this amazing gift. I always try to use that as the visual, if you will, of you have this big present and you get to unwrap it and then you just keep getting something cooler inside and then you get to unwrap that and you get something cooler inside and you just keep unwrapping this beautiful gift that is yourself. But you don’t realize that when you first get the box, the amazing stuff that’s going on inside, and it takes time to get to it. So a lot of times growing up, I would kick myself in the butt of, I wish I had come to this when I was so much younger. I wish there were people out there when I was younger, role models that I could look up to when I was eight years old and pointing on the TV and saying like, “Okay, well, I mean, I understand that Ray Charles existed, but that’s not going to…” Stephanie Flynt McEben: Stevie Wonder is here, Ray Charles is here, but we need more of us. Hello. Lachi: We need more of us. Hello. Exactly. And so this time and place where I am right now is where I needed to be for this to work. So I can’t really kick myself in the butt of like, “I wish I had this. I wish I knew this so much earlier. I would’ve been so much further.” That kind of thing. You have to be where you got to be where you need to be. Even right now, this conversation we’re having right now is going to have been necessary for the next thing that is happening in our lives. And just the other day, I was hanging out with Queen Herby, who’s been one of my favorite more modern rappers. I just did a thing with Apl.de.ap. I have done some stuff with Black Caviar. Folks that I’ve looked up to, I’m having the opportunity to Snoop Dogg. I’m having the opportunity to work with these days because of the fact that I am here at the right time now. So when I was writing my book, we were peeling back all the layers. I’m a generally very positive and energetic, social butterfly type of person today. But it’s interesting, I wasn’t always this person and I had to unpack all the layers to get there. One of the biggest things that happens to me, so I’ve always been low vision. So I was born with relatively low vision and it stayed the same throughout my teens and early 20s. But one day I woke up and my sight was just gone. Boom. So the interesting thing is anybody listening would be like, “Oh my God, if I woke up and my sight was gone, I would just die or I would not know what to do. My life would be over.” Stephanie Flynt McEben: Yep. Heard that a million times. Yes. Lachi: But for me, it was weird because I was already low vision, so I was going from level one to the underwater level or whatever. So it wasn’t like that life changing of a thing. I was already using screen readers or Zoom text. I was already doing stuff of that nature. So I wake up blind and I’m just like, “Okay, I guess this is it. This is the day that they told me was coming.” What had ended up happening was my corneas had erupted. And so I went to the doctor and he was like, “You’re going to become completely blind. You’re going to go from this much worse vision than you’ve had to complete blindness over the course of time.” So here you go, here’s a coupon. Bye.” or whatever. So I’m like, all right. So I had decided at that moment that I wanted to start a bucket list. So I was like, okay, what are all the things I’ve always wanted to do before completely going completely blind? So I was like, let me go skydiving, let me go spolunking, let me go meet with people, meet with celebrities and just do all of the things I’ve always wanted to do before I lose my vision. So I went out and I did it. This is still me doing it. This is still me doing it. And so I say that because to people who say if I ever went blind, I would just die. Well, when I went blind, it made me want to live. And that’s what opened me up into being this person that I am today. Stephanie Flynt McEben: That is amazing. I genuinely love that. Lachi: We talk about charity model and propping disabled folks up as tools of pity. We talk about medical model, which is really just waiting around for cure, making the cure the hero. We talk about social model, which is a really good place to live in the sense of things are impairing if they’re not accessible. Society is impairing if it’s not inclusive. But honestly, if I have all of the things, like if I have all my tools, if I have all that I need and if folks are inclusive, then I’m still blind, but I’m not impaired. But I like to go a little step further into what is the cultural model. And so the cultural model is it’s not just a discussion of what society should and shouldn’t do. It’s actually a celebration of what you gain as a person who identifies with their disability or their neurodivergence, the things they need to overcompensate because they’re navigating the world a little differently, leaning into that. So let’s say for instance, deaf culture, sign language, and the fact that folks can have complete discussions outside of what we’re talking about, there is so much deaf pride out in these streets, that is a celebration of culture that comes out of disability. And for me, let’s say for instance, I have ADHD and it powers my one million and counting ideas. I have diagnosed OCD, which helps me carry out all those one million and counting ideas. I have diagnosed general anxiety disorder, which gives me my empathy and my excitement. And then I am blind, which when I have the tools I need, it gives me drive. It keeps me determined, it keeps me focused, and it gives me my dope ass glam canes. There was a girl and her mom, and she came up to me after a show and she was like, “Oh my God, your music was great.” I was like, thank you. She’s like, “Mommy, can I get one of those canes?” And then her mom was like, “Ugh, well, you have to be blind.” And I’m like, “Yeah, girl, you better want to be me.” Stephanie Flynt McEben: Yeah. We drive sticks. Anyway, sorry. Lachi: Yes. You know what? I speak softly and I carry a big old stick. Thank you. Stephanie Flynt McEben: Yes. Amen to that. Exactly. As somebody who considers themself a lifelong disability advocate, I never really thought about it in the sense of going beyond the social into the cultural. So thank you so, so much. We all learn something new every single day on this podcast, but I’d love to know a little bit more about, obviously you were very, very, very good at talking through these experiences in such a way that they are very relatable and easy to understand and that thing. So I’d love to pick your brain about the intended audience of your book. Who did you write it for? Other blind folks? Did you write it for, was it written for multiple audiences? Lachi: Yeah, honestly, I wrote it for the person who is masking. I wrote it for anyone who is tired of… Listen, let me put it like this. Let’s face it, disability is boring, a lot of the time it’s sad and it’s compliancy. We have to go the extra mile to make it fun because the actual truth of it is that the only reason it’s boring, sad, and compliancy is because society has kept it that way through its collective internalized ableism. And so my book is actually a humor book. It’s a pop culture book. It’s a comedy book. In fact, when we were talking to the publisher, it’s like, we should be putting this up against other comedic books, not necessarily disability books because it’s a book. I got so many jokes. I have dad jokes, they’re corny jokes, I have rap bars. I rap in a lot of the book just because I was like, “Hey, this rhymes.” I’m going to say it like a rap. We’re doing the audiobook right now, so I actually get to wrap it, which is really fun. Stephanie Flynt McEben: Oh, that is so cool. Oh my gosh. Lachi: Which is really, really fun. But really, honestly, what the book is what everything I do is it is using joy, soul, pop culture, jokes, humor, fashion, and just a really good time to celebrate disability, as well as community. So what you’ll find in this book is my story through my story, through historical deep dives, through interviews with some really, really cool popular figures and a really big deep dose of disability joy. And so a lot of folks who have disabilities, they will read this book and they’ll be energized. It’ll be like, “This is really great. I’m glad that I finally get to read a book that talks about disability in a positive way.” For blind specific folks, they might relate to a few of my stories because I talk about the day I woke up blind, I talk about when I went skydiving blind, I talk about just some of my interesting blind moments. But then I also talk about how I would go to red carpets and not know how to talk to anybody. So I’m in this amazing room with all these celebrities I can’t see and I’m just sitting on the wall. So I talk about some of the hard times too as well. But at the end of the day, really what the book is is an invitation in for somebody who feels a little different, a little awkward, has to mask, and just needed that invite in to talk about disability in a fun, joyful, celebratory way, to recognize that yes, that thing in you that’s different, that thing in you that society has told you you should view as a weakness and hide, you should be proud of. And I say this to people all the time. I say it in the industry, I say it to all my friends, I say it to anyone who will listen. I say it to my local barista and they come back and they say things like, “Oh my God, I’m so glad you said it that way. It turns out I have a titanium hip and I’ve never told anybody about that.” And that’s the vibe. The vibe is someone who was like, “I really needed this to be said to me this way, and now I am able to step all the way into my disability identity.” Alden Blevins: I love, especially what you said about joy. I feel like for me as an autistic person, my experience in the arts is that it is really a space where people who maybe don’t belong in other spaces or don’t feel like they belong in other spaces or are made to feel like they don’t belong in other spaces. I think that a lot of them really do find a safe space in music, in the arts, in theater. And I just wanted to ask, why do you think the music space is such a special one for you and why do you think it’s a place where other people with disabilities seem to flock together as well? Lachi: I mean, you hit the nail on the head. Counterculture, I mean, music often rewards counterculture. And then it eventually becomes mainstream and then we got to rebel against that. So music is a place where your soul can speak. And I think a lot of the times with disabilities, especially autism for me, I’m ADHD, OCD, a different neurodivergence situation, but a lot of the issue is communication. We don’t know how to say exactly what we need or whoever we’re talking to just doesn’t know how to hear what we’re saying. And so I think that what music does is it allows a soul to speak to a soul. A lot of the times music does this thing where you’ll be listening to a song and you’ll just be like, “That, that right there. That’s what I it me. That’s the thing I’m feeling.” type deal. Music has the ability to do that. And so for me, right now, this children’s album that I’m working on, the kids’ album, which is an album that is essentially R&B, pop, electronic, sort of the genres that I dance in for kids centered on disability and neurodivergence. Because what I want to do is be able to say, “Hey, I want you to point at that and say, that’s me.” And I think the easiest and quickest way to point at something and say, “That’s me also.” has been music. And so it’s why it’s been my strongest medium. Again, it’s not my only medium. I’m talking to folks through the book, I’m talking to folks through fashion, et cetera, et cetera. But again, music has been just the quickest, easiest point A to point B conversation easer, if you will, about disability. Another thing I also love to use is humor and comedy. So I make jokes all the time. They’re all bad. They’re all very not good jokes. I need to probably get a joke writer, but the fact that I’m having such a good time telling the jokes, I think I think is all that really matters. So I think both music and humor are just really, really great spaces for two people to get to relate to something that may be difficult to talk about. Stephanie Flynt McEben: Yo, if you need a joke writer, I’m your girl. I actually do a joke every single episode of this podcast. Michelle Bishop: Her jokes are not better than yours, Lachi. Don’t hire her. Stephanie Flynt McEben: My jokes are pretty bad. They’re worse than dad’s jokes. They’re like granddad jokes. Alden Blevins: Yeah. Stephanie is the queen of the jokes on our podcast. She always brings one through. Didn’t know that you were working on a children’s music album, and I think that’s really interesting. I actually used to be a teacher, so children’s music is something that’s near and dear to my heart. So I just wanted to ask, what would you want to tell to younger people with disabilities, younger disabled creatives about claiming space and being able to tell their own stories? Lachi: Well, one thing that I heard from someone else, I don’t remember who it was. I think it was- Michelle Bishop: Jordan? Lachi: Yes, Jordan. He’s the one that said this. Michelle Bishop: I love him. Lachi: Yeah, he’s so funny. I met him at a… What did I meet him at? The Webby Awards or something. But anyway, no one can ever defeat someone who hasn’t given up. And for some reason that hit me, and I don’t even think he was trying to say it that deep. He was just saying a joke or something. But I took that and it was like, no one can ever defeat someone who hasn’t given up. So at the end of the day, you are really the only one who can end whatever you’re trying to get. Because as long as you are still going for it, it is still still there. It’s like a Schrodinger’s cat. It’s like as long as you’re still running for it, that opportunity is still there for you to have. The opportunity is never lost as long as you’re still going for it. And people can tell you, people can take your shoulders and tell you to go right. People can take your shoulders and tell you to go left. But until you take your own shoulders and go in the direction that your heart, your soul, your passion, your fire, desires, that is when you truly begin to live. And so I say personally, lean into that. I hear from a lot of younger, especially creators with disabilities. I mentor a lot of folks, tons and tons of folks. It’s one of the things I love to do the most. But what I love to tell folks is you are going to be the best you. And that you is going to include all of the different parts of who you are, but it is especially going to include you leaning in to the things that make you different and unique as unique selling points. Earlier I talked about how people try so hard to be the “definition of beauty”, definition of success, definition of whatever. Everyone’s trying to be this reference man. Everyone’s trying to be as close as they can to the reference man. And if I’m as close as I can to the reference man, then I’ll be successful or then I’ll get this job or then I’ll get this gig. But the truth of the matter is when we look at all of the people that are doing all of the big things, they’re “eccentric”. They’re “weird”. They did some big different idea that no one was thinking about and everybody fell into their trend. The further away you are from the reference man, that is when you start to win. That is when you’ll start to see success. That is when you’ll start to feel much better about yourself. That is when you can wake up in the morning, look in the mirror and say, “I am fine.” When you are able to accept all of those different freckles of yourself that are as far away from the reference man as possible, because guess what? There is room outside of the barrel for everyone to win if they are all being their unique self and running their unique purpose. That’s what I would tell to young disabled creators. Michelle Bishop: That’s amazing. Almost feel like we should stop there, but I have so many follow-up questions. Lachi: Listen, I’m here to drop as many mics as they will let me keep breaking. Michelle Bishop: I was wondering how you see the conversation around disability and inclusion and evolving these days. And a lot of our listeners are people with disabilities or people who have other even multiple intersecting identities in which they experience barriers as well. What does allyship look like to you? Lachi: This is one of my favorite questions. So yes, we have folks with disabilities and we have folks who want to work with people with disabilities, want to help a friend with a disability, want to make sure they don’t say the wrong thing to a person with a disability, neurodivergence, chronic condition, mental health condition. That’s not an ally. Wanting to help a person with a disability is not an ally. To me, wanting to support someone with a disability, that’s an ally in the very basic definition of allyship. Here’s what I think an ally is. To answer the question, I got to do two things. One, talk about the disability umbrella. So the disability umbrella encompasses so many forms of disability. It is neurodivergence, which is ADHD, dyslexia, OCD. It is mental health conditions like anxiety, depression, bipolar. It is someone who learns a little differently. It is someone who has explosive situations like anger management. It is someone who has substance abuse disorder, maybe somebody who drinks too much or uses different substances. It is chronic back pain. You know what I’m saying? It is asthma. It is EDS. It’s POTS. It is long COVID. It is different complications that you gain after pregnancy. It is different complications that you gain as you age. It is different complications you gain through menopause. It is temporary. It is breaking your arm and wearing a cast. It is seasonal depression. There is nobody on this earth that is not within the disability umbrella. And I don’t mean that you’re going to grow into it. I don’t mean in the future. I mean right now. Whether you identify as a person with a disability or not, you have disability identity because you have experience in your body disability. And when you figure that out, then you’re an ally. Allyship is seeing yourself through the other person because you can’t look through someone else’s eyes unless you can see yourself in them. And you can’t see yourself in disability until you recognize the disability identity within yourself. All of a sudden, and I say this and people are like, “What? I say this, but I’ve seen this. I’ve seen it happen. I’ve seen people who did not associate themselves with any form of disability or anything and they’re just like, Oh, them. Oh, I’ll help them. We have a conversation and then we have a follow-up conversation and then we’re drinking and then all of a sudden they’re telling me all their disabilities and then they’re walking a little different when they encounter disability. It’s no longer a them thing. And so that’s what an ally is. People with disabilities are also allies. I am an ally to the deaf community because I recognize though I’m not deaf, I see the having to navigate the world differently in you of myself. So that’s how I define an ally. An ally is someone who understands their own disability identity and can see it in others. Michelle Bishop: Don’t mind me over here just taking notes. Stephanie Flynt McEben: Literally. Oh my gosh. Lachi, thank you so, so, so much for being with us and taking time. I know that your website, lachimusic.com is one of the places where folks can stay up to date on all of the latest and greatest things that you’re up to. Is there anything else in particular you would like to plug for our listeners? Lachi: Like you said, LACHI, L-A-C-H-I M-U-S-I-C. I’m on the internets everywhere. Instagram, Spotify, check out the old music. If you’re a creator, a music creator or professional with a disability, check us out at RAMPD, R-A-M-P-D.org. Or if you want to donate or if you want to partner with us over at RAMPD, please do. If you are a cane user, whether you’re a blind cane user or you use Mobility Cane, check out glamcanes.com, get your canes bejeweled. I Identify as Blind, our book is out on Penguin Random House, imprint called Tiny Reparations by Phoebe Robinson, who is also a comedian. So we’re out here all writing very funny books. So please check it out. And lastly, listen, try to find moments in your day of disability joy. And when you find that moment, take a picture of it or write it down so that you can go back to it and live for those moments. So thank you guys so much for having me on this podcast. It’s really been a blast getting to talk at you about all things I identify as blind. Alden Blevins: I love it. I was over here taking notes too because I just found so much of myself in what you were saying and so many things were poignant and empowering. I, as an autistic person, try to be an ally to other parts of the disability community myself. And that’s something where I’m always trying to put myself in the shoes of another person and what they might experience. So I think that’s really powerful. We were so grateful to be able to connect and learn more about you, Lachi. Lachi: Yes, yes, yes. So honored to be here, guys. Michelle Bishop: Before you head out, Lachi, do you want to hear one of Stephanie’s grandpa jokes? Lachi: I was going to say, I was like, “Let’s hear one of these granddad jokes.” Let me see. Stephanie Flynt McEben: Okay. This might be- Michelle Bishop: Okay, do it. Stephanie Flynt McEben: … a granddad joke. Okay. Where do spiders like to get their information? Lachi: The web? Michelle Bishop: That would be something to do with web. Stephanie Flynt McEben: But what kind of web? Lachi: Wow. Really? You are fired from being my comedy writer. You are fired to be my comedy writer. I was rooting for you too. I was like, let’s just… Please. Stephanie Flynt McEben: I wouldn’t even get to the punchline yet. Michelle Bishop: Worldwide web? Stephanie Flynt McEben: It is the worldwide web. Michelle Bishop: Oh. Stephanie Flynt McEben: It’s fine. It’s fine. My wife warned me not to tell that joke this month and I didn’t lose it. Michelle Bishop: Oh my gosh. I’m so glad you stuck around for that part. Lachi: As I live and breathe. Thank you guys so, so much. This has been so much fun and I will see who else I can tell that joke to. And go ahead and just to help you out, Stephanie, I’ll go ahead and embarrass myself by telling that joke to others. Stephanie Flynt McEben: Not my best work, but that is allyship. Yes. Michelle Bishop: Oh my gosh, Lachi, thank you so much. And everyone, please lachimusic.com. Check it out. Listen to the music, read the book. Alden Blevins: Speaking of the worldwide web, this has been National Disability Radio. We celebrate stories, leadership, and talent of people with disabilities. If you enjoyed this episode, be sure to subscribe, share, and continue the conversation with us on that worldwide web at ndrn.org or anywhere you get your favorite podcasts. Thanks for listening and until next time. Stephanie Flynt McEben: Bye.

On this episode of National Disability Radio, we sit down with award-winning recording artist, advocate, and author Lachi for a powerful conversation about disability pride, music, and unmasking. Lachi shares her journey, from navigating the music industry as a blind artist, to founding RAMPD, a coalition amplifying disability culture across the industry. We talk about what it means to say “I identify as blind,” move beyond the medical and social models of disability into a cultural model rooted in identity and joy, and remind listeners that no one can defeat someone who hasn't given up. From glam canes to Grammy stages, this episode is about claiming space, rejecting internalized ableism, and turning perceived flaws into flexes. Transcript: Alden Blevins: It’s Lachi? I feel very- Lachi: Lachi like Versace. Alden Blevins: Lachi like… Oh, I love that. Michelle Bishop: That is the best way to explain it. Lachi: I mean, but you know what I’m saying? Come on. Alden Blevins: Well, we’re really excited about having you today because we’re all music lovers in this group here. Michelle Bishop: Yes. Alden Blevins: We talk about music all the time. Michelle Bishop: So much. Lachi: Good, good, good, good, good, good, good. I’m in the right place. Michelle Bishop: Hi everyone. Welcome back to National Disability Radio, the official podcast of the National Disability Rights Network. I am Michelle Bishop, 1/3 of your podcast hosting team. Stephanie Flynt McEben: And I’m Stephanie Flynt McEben, public policy analyst here at NDRN. Alden Blevins: I am Alden. I am a communication specialist at NDRN and I am so excited today, like I mentioned, we’re all lovers of music, so we got a guest that I’m really excited about. Lachi is an award-winning recording artist and a recording Academy Grammy’s national trustee. She’s also a disability advocate who’s been breaking barriers in the music industry and beyond. She’s the founder of RAMPD, which by the way, is such a fun play name. I really love that. And the author of the upcoming book, I Identify as Blind. So without further ado, Michelle, you’ve got some questions to kick us off, I think. Michelle Bishop: Yes. We’re so excited to have you with us. As Alden said, we are. We’re huge music lovers. I’m pretty sure we spend most of our meetings where we allegedly plan this podcast just talking about music. So you’re absolutely in the right place today, but to get us started, I mean, you’ve been open about the fact, and I’m just really interested in this as a disability rights podcast. You’ve been really open about the fact that it took you some time to really embrace your identity as a blind and disabled woman, especially in the industry that you’re in that often really rewards conformity. Can you tell us a little bit more about that journey for you, both as an artist and as someone navigating just the world with a disability? Lachi: Okay. Yeah, for sure. Hey, everybody. Lachi here, Lachi like Versace. I am a Black woman with cornrows, chilling here in New York in my studio. I also identify as blind, I identify as neurodivergent, and I identify as an Aries. So do with that what you will. Michelle Bishop: All the important points right there. Lachi: All the important points like name, age, sign. Thank you. Okay. Yeah, but I’m really glad to be here. And thank you for that question, and thank you for having me. So music has always been a very integral part of my life of growing up. Where other babies would kick in the womb, when she was pregnant with me, I was playing the piano in the womb. I don’t know how she got a piano in there, but she’s not a liar, so I’m going to take her word for it. When I was super-duper young, I didn’t really have a lot of friends, especially because of the fact that I had differences and this and that. And so I would take to music to, I guess, understand the world better and have the world understand me better. I just knew how to express myself through song and it just said the things I needed to say. It was the prayer I needed. And because of music, I started to find confidence in how to speak and how to behave and how to act. And as I got older, when I was growing up, disability was not necessarily a thing people talked about a lot in schools and teachers didn’t know what to do. My parents didn’t really know what to do. And so I would always just turn to music. It’s actually right now I’m working on a children’s album because I think that kids need to hear music that has to do with disability and neurodivergence, as well as their parents as they grow up. When I got into college, I started wanting to do music, but I studied business and finance because when I told my parents I wanted to do music, they were like, “That’s not how you spell doctor.” because they are Nigerian immigrants and everybody else in my family went to either med school and blah, blah, blah. And I was like, “No, I want to do music.” But I did get a day job after school, after college, and didn’t love it because this girl is not going to exist behind a desk. So I ended up going to South by Southwest and I got signed actually from playing the guitar at a hole in the wall spot that nobody was at, except for this A&R apparently. So we got signed to an imprint under EMI, which was a major label back then, and we started touring and music then became my life. Now today, why wouldn’t I pay my respects back to music? I mean, it’s because of music that I was able to really lean into who I am, my disability, my confidence, et cetera. So because of that, because of how much music has given to me in my life, I’m here using music to give back to other people with disabilities. Now, your question was essentially, how do you sit here and try to bring about change for disability in an industry that is not only about conformity, but also about like, “Hey, pick me to exploit.” is essentially what the music industry is. You’re raising your hand to be exploited and that’s what kind of authenticity is that? But at the end of the day, music is some of the truest forms of storytelling. And I think to myself, just the way that hip hop has amplified Black culture and the way that country music has amplified rural culture and the way that different global musics have represented different global cultures. I want to use music to amplify disability culture. I want to use music to amplify disability stories and feelings that are difficult to put words to, that are words of the soul, which is essentially what music is. And so I started going to studios and realizing things weren’t as accessible as they should be. I started speaking with organizations and realizing things weren’t as inclusive as they should be. And the response I kept getting was like, “Oh, well, there’s nobody with a disability in the music industry, so why would we make these measures?” And so I have made it my life’s goal through RAMPD, which by the way, the best thing we ever accomplished was our acronym, not us working with the Grammys to get sign language on the red carpet, not us getting these partnerships with title, Live Nation, Spotify. I mean, we’ve done so much, not just for artists, but also for professionals. And we’ve started to realize something really interesting with the work we’ve done with RAMPD. We are getting people joining our membership who are director level folks, who are label owners, who are like the big wigs that write the checks, and they’re like, “I’m neurodivergent. I’m actually hard of hearing. I have a TBI.” And so when I originally set out, they said, “We don’t do disability inclusion because nobody’s disabled.” That was three years ago. Now I’m like, not only are there neurodivergent and disabled music professionals out here, but we all are. So really to conclude, it’s just that everyone is navigating trying to make it out in this world, but everyone’s masking. Everyone feels that they have to change some part of themselves to be as close as they can to what success looks like, be as close as they can to what “beauty” looks like, what winning looks like. But really all it is internalized ableism. And I say, as soon as we drop that internalized ableism and we really start to sit in who we truly are and we start to recognize our perceived flaws as flexes, that’s when we truly start to win. And so that’s what we’re finding out with RAMPD, that people are like, “You know what? I’m tired of navigating this difficult industry with the added layer of having to mask.” And so that’s why I do what I do. Michelle Bishop: Yes. And honestly, as ridiculous as it sounds that they say to you, “Oh, there aren’t any people with disabilities.” When I tell you, we see that in everything that we do. I do voting work at NDRN and we’ll have elections officials tell us, “This polling place isn’t accessible, but there aren’t any people with disabilities that vote here.” And it’s like, “What? You realize we’re everywhere and we do all sorts of things.” Maybe the reason they think there’s no people with disabilities here is because they’re stuck outside and they can’t get in because you didn’t make it accessible, just a thought. But I mean, it sounds like coming up against all that is really, correct me if I’m wrong, helped you to develop that identity and that disability pride in the industry. When did you first say, “I identify as blind.” and what did that mean for you? Lachi: Well, so when I first came into really doing the disability thing, really leaning in, I wanted to find out more influencers or thought leaders and such with disabilities. I didn’t really know that many people. This is pre COVID, 2018, 2019, that kind of thing. And so I came across an influencer, her name is Molly Burke, and we’re great friends now, but I didn’t know her back then. I had just seen her tagline and it had said, “I’m Molly Burke and I’m a YouTuber who happens to be blind.” And for some reason I was like, “I don’t know if I love the happens to be blind thing.” I was like, “Well, I’m proud of being blind. Blindness is part of my identity. I don’t just happen to be a woman. I don’t just happen to be a Nigerian. I don’t just happen to be all of the things I am.” And so I would go to… I was touring… We’re always touring and every time I tour and do a show, I do a comedic open where I just introduce myself, I do a quick self-description, et cetera. And in my self-description, I would say, and I don’t just happen to be blind. My blindness is part of my identity, has given me all of the opportunities I have, and it’s really made me a deeper blah, blah, blah. It was just too long. So I had punched it up to be, “My name is Lachi like Versace. She, her, I’m a Black woman with cornrows and I identify as blind.” And the interesting thing about that is people took onto it. They were like, “Oh, that’s cool, nice and punchy.” But whenever I would say it in front of a large crowd or like I’ve said it on interviews or during commercials, I would get this weird, I don’t know, pushback of like, you can’t identify as blind. Blindness is an identity. It’s a medical condition. Or they’ll be like, “Do you read braille or not?” Or they’ll be like, “We don’t want people to think trans blindness is a thing where you just have a blind identity.” And then you can be like, “Well, I’m blind today, so that’s my identity.” And I thought that was really fun. I was like, “Look, everybody’s upset. They’re talking about blindness though.” So I really leaned all the way into it. And I have to say, I am super proud of my disability identity. Was it music that brought me there? I think in a sense and in a way, like today I have a few songs, you guys are music lovers, I have a few songs out that really talk about my disability pride. I think that a lot of the times as we navigate the world, masking our disability, masking our chronic condition, our difference or whatever, we end up overcompensating. We end up building up this really, really thick problem solving muscle or this really, really thick how to get around things muscle and we overcompensate. When we’re finally accommodated, when we finally get to a place where we’re accommodated or we have the tools we need, we’re coming in like bulk as hell. We’re coming in with problem solving muscles. We’re coming in with all of these things that we had to build up because of navigating the world differently, because of every day working through this very difficult maze that is living a life unaccommodated, then when we finally are accommodated, then we are killing it and crushing it. And how could you not be proud of that? How can that not give you a sense of pride? So the songs that I would love for you guys to check out that are mine is I have a song called Life on Hard, which has gone viral several times on Instagram. I’m known as an Instagram rapper, which is like, what? Hello, I do disability advocacy. Look at that stuff. But anyway, so I have a song called Life on Hard, which is essentially about just winning the game of life, playing it on the hardest setting out here while people are still trying to consult the manual. I have another song called Professional, which is oftentimes when I walk on the stage, people see the cane and they’re like, “Aw, she’s going to do a song for us. Is this from Make a Wish Foundation?” And then I bust out these raps or I hop on the piano and I go ape on this piano and then they’re like, “Oh, snap. What? Okay.” And I’m like, “Bro, I’m a professional artist. I’m not object for pity to make you feel good because you felt weird on a Monday and you didn’t feel like getting up for work, but it’s like, she could do it. So can I.” I’m like, “No, I can do it. You most likely probably just can’t.” So that’s what that song’s about. And then there’s The Bag, and The Bag is just essentially like, I’ve been told no so much like, “No, you can’t. No, you’re not good enough. No, we don’t want you.” And I’m like, “You know what? Yes, I am good enough and I deserve everything. So I’m going to throw everything I deserve in the bag, which is everything.” I don’t know. I would not be the person I am if I didn’t love all parts of myself. And that includes my disabilities, that includes my neurodivergences and all of the other wacky, weird body jazz that I bring with me everywhere I go. Michelle Bishop: Lachi, can we maybe, do you and I just FaceTime each other every morning and hype each other up? Stephanie Flynt McEben: I was literally about to say the same thing. I would like in on a true call. Michelle Bishop: I don’t know if you know. Actually, I want to say quickly, I know some of those songs actually from social media, but they’re real. They’re so real. So people haven’t heard music, go check it out. I don’t know if you know one of our co-hosts, Stephanie is blind. You’re speaking directly to her soul right now. Stephanie Flynt McEben: I literally just texted them in our podcast group text and I was like, she’s totally speaking to my soul RN, but of course I don’t want to interrupt anything. Michelle Bishop: No, I know you’re dying to talk to her about the book, Stephanie, and take it away. Stephanie Flynt McEben: Yeah, no, absolutely, for sure. And as somebody who is blind and who also identifies as a blind person and definitely does not identify with the medical model of disability, clearly gotten to more of a social model. But yeah, in terms of going through that journey of accepting all of who you are and everything about yourself, for me, I mean, it took a minute, especially when you’re talking about your experiences as a child and I totally feel that. I was that girl playing the harmonica on the jungle gym by herself. Anyway, this is about you. This is not about me, but I’m just saying that I totally relate to you on a spiritual level. And given that, I would love to know, were there any particular moments when it came to writing the book that were particularly hard or healing? Because I mean, I think that we all know that it’s not always a linear journey. Some days are going to be harder than others. And so would love to get your perspective on that. And I think that our listeners would be interested. Lachi: Yeah, absolutely. The journey for me has been one of constantly unwrapping this amazing gift. I always try to use that as the visual, if you will, of you have this big present and you get to unwrap it and then you just keep getting something cooler inside and then you get to unwrap that and you get something cooler inside and you just keep unwrapping this beautiful gift that is yourself. But you don’t realize that when you first get the box, the amazing stuff that’s going on inside, and it takes time to get to it. So a lot of times growing up, I would kick myself in the butt of, I wish I had come to this when I was so much younger. I wish there were people out there when I was younger, role models that I could look up to when I was eight years old and pointing on the TV and saying like, “Okay, well, I mean, I understand that Ray Charles existed, but that’s not going to…” Stephanie Flynt McEben: Stevie Wonder is here, Ray Charles is here, but we need more of us. Hello. Lachi: We need more of us. Hello. Exactly. And so this time and place where I am right now is where I needed to be for this to work. So I can’t really kick myself in the butt of like, “I wish I had this. I wish I knew this so much earlier. I would’ve been so much further.” That kind of thing. You have to be where you got to be where you need to be. Even right now, this conversation we’re having right now is going to have been necessary for the next thing that is happening in our lives. And just the other day, I was hanging out with Queen Herby, who’s been one of my favorite more modern rappers. I just did a thing with Apl.de.ap. I have done some stuff with Black Caviar. Folks that I’ve looked up to, I’m having the opportunity to Snoop Dogg. I’m having the opportunity to work with these days because of the fact that I am here at the right time now. So when I was writing my book, we were peeling back all the layers. I’m a generally very positive and energetic, social butterfly type of person today. But it’s interesting, I wasn’t always this person and I had to unpack all the layers to get there. One of the biggest things that happens to me, so I’ve always been low vision. So I was born with relatively low vision and it stayed the same throughout my teens and early 20s. But one day I woke up and my sight was just gone. Boom. So the interesting thing is anybody listening would be like, “Oh my God, if I woke up and my sight was gone, I would just die or I would not know what to do. My life would be over.” Stephanie Flynt McEben: Yep. Heard that a million times. Yes. Lachi: But for me, it was weird because I was already low vision, so I was going from level one to the underwater level or whatever. So it wasn’t like that life changing of a thing. I was already using screen readers or Zoom text. I was already doing stuff of that nature. So I wake up blind and I’m just like, “Okay, I guess this is it. This is the day that they told me was coming.” What had ended up happening was my corneas had erupted. And so I went to the doctor and he was like, “You’re going to become completely blind. You’re going to go from this much worse vision than you’ve had to complete blindness over the course of time.” So here you go, here’s a coupon. Bye.” or whatever. So I’m like, all right. So I had decided at that moment that I wanted to start a bucket list. So I was like, okay, what are all the things I’ve always wanted to do before completely going completely blind? So I was like, let me go skydiving, let me go spolunking, let me go meet with people, meet with celebrities and just do all of the things I’ve always wanted to do before I lose my vision. So I went out and I did it. This is still me doing it. This is still me doing it. And so I say that because to people who say if I ever went blind, I would just die. Well, when I went blind, it made me want to live. And that’s what opened me up into being this person that I am today. Stephanie Flynt McEben: That is amazing. I genuinely love that. Lachi: We talk about charity model and propping disabled folks up as tools of pity. We talk about medical model, which is really just waiting around for cure, making the cure the hero. We talk about social model, which is a really good place to live in the sense of things are impairing if they’re not accessible. Society is impairing if it’s not inclusive. But honestly, if I have all of the things, like if I have all my tools, if I have all that I need and if folks are inclusive, then I’m still blind, but I’m not impaired. But I like to go a little step further into what is the cultural model. And so the cultural model is it’s not just a discussion of what society should and shouldn’t do. It’s actually a celebration of what you gain as a person who identifies with their disability or their neurodivergence, the things they need to overcompensate because they’re navigating the world a little differently, leaning into that. So let’s say for instance, deaf culture, sign language, and the fact that folks can have complete discussions outside of what we’re talking about, there is so much deaf pride out in these streets, that is a celebration of culture that comes out of disability. And for me, let’s say for instance, I have ADHD and it powers my one million and counting ideas. I have diagnosed OCD, which helps me carry out all those one million and counting ideas. I have diagnosed general anxiety disorder, which gives me my empathy and my excitement. And then I am blind, which when I have the tools I need, it gives me drive. It keeps me determined, it keeps me focused, and it gives me my dope ass glam canes. There was a girl and her mom, and she came up to me after a show and she was like, “Oh my God, your music was great.” I was like, thank you. She’s like, “Mommy, can I get one of those canes?” And then her mom was like, “Ugh, well, you have to be blind.” And I’m like, “Yeah, girl, you better want to be me.” Stephanie Flynt McEben: Yeah. We drive sticks. Anyway, sorry. Lachi: Yes. You know what? I speak softly and I carry a big old stick. Thank you. Stephanie Flynt McEben: Yes. Amen to that. Exactly. As somebody who considers themself a lifelong disability advocate, I never really thought about it in the sense of going beyond the social into the cultural. So thank you so, so much. We all learn something new every single day on this podcast, but I’d love to know a little bit more about, obviously you were very, very, very good at talking through these experiences in such a way that they are very relatable and easy to understand and that thing. So I’d love to pick your brain about the intended audience of your book. Who did you write it for? Other blind folks? Did you write it for, was it written for multiple audiences? Lachi: Yeah, honestly, I wrote it for the person who is masking. I wrote it for anyone who is tired of… Listen, let me put it like this. Let’s face it, disability is boring, a lot of the time it’s sad and it’s compliancy. We have to go the extra mile to make it fun because the actual truth of it is that the only reason it’s boring, sad, and compliancy is because society has kept it that way through its collective internalized ableism. And so my book is actually a humor book. It’s a pop culture book. It’s a comedy book. In fact, when we were talking to the publisher, it’s like, we should be putting this up against other comedic books, not necessarily disability books because it’s a book. I got so many jokes. I have dad jokes, they’re corny jokes, I have rap bars. I rap in a lot of the book just because I was like, “Hey, this rhymes.” I’m going to say it like a rap. We’re doing the audiobook right now, so I actually get to wrap it, which is really fun. Stephanie Flynt McEben: Oh, that is so cool. Oh my gosh. Lachi: Which is really, really fun. But really, honestly, what the book is what everything I do is it is using joy, soul, pop culture, jokes, humor, fashion, and just a really good time to celebrate disability, as well as community. So what you’ll find in this book is my story through my story, through historical deep dives, through interviews with some really, really cool popular figures and a really big deep dose of disability joy. And so a lot of folks who have disabilities, they will read this book and they’ll be energized. It’ll be like, “This is really great. I’m glad that I finally get to read a book that talks about disability in a positive way.” For blind specific folks, they might relate to a few of my stories because I talk about the day I woke up blind, I talk about when I went skydiving blind, I talk about just some of my interesting blind moments. But then I also talk about how I would go to red carpets and not know how to talk to anybody. So I’m in this amazing room with all these celebrities I can’t see and I’m just sitting on the wall. So I talk about some of the hard times too as well. But at the end of the day, really what the book is is an invitation in for somebody who feels a little different, a little awkward, has to mask, and just needed that invite in to talk about disability in a fun, joyful, celebratory way, to recognize that yes, that thing in you that’s different, that thing in you that society has told you you should view as a weakness and hide, you should be proud of. And I say this to people all the time. I say it in the industry, I say it to all my friends, I say it to anyone who will listen. I say it to my local barista and they come back and they say things like, “Oh my God, I’m so glad you said it that way. It turns out I have a titanium hip and I’ve never told anybody about that.” And that’s the vibe. The vibe is someone who was like, “I really needed this to be said to me this way, and now I am able to step all the way into my disability identity.” Alden Blevins: I love, especially what you said about joy. I feel like for me as an autistic person, my experience in the arts is that it is really a space where people who maybe don’t belong in other spaces or don’t feel like they belong in other spaces or are made to feel like they don’t belong in other spaces. I think that a lot of them really do find a safe space in music, in the arts, in theater. And I just wanted to ask, why do you think the music space is such a special one for you and why do you think it’s a place where other people with disabilities seem to flock together as well? Lachi: I mean, you hit the nail on the head. Counterculture, I mean, music often rewards counterculture. And then it eventually becomes mainstream and then we got to rebel against that. So music is a place where your soul can speak. And I think a lot of the times with disabilities, especially autism for me, I’m ADHD, OCD, a different neurodivergence situation, but a lot of the issue is communication. We don’t know how to say exactly what we need or whoever we’re talking to just doesn’t know how to hear what we’re saying. And so I think that what music does is it allows a soul to speak to a soul. A lot of the times music does this thing where you’ll be listening to a song and you’ll just be like, “That, that right there. That’s what I it me. That’s the thing I’m feeling.” type deal. Music has the ability to do that. And so for me, right now, this children’s album that I’m working on, the kids’ album, which is an album that is essentially R&B, pop, electronic, sort of the genres that I dance in for kids centered on disability and neurodivergence. Because what I want to do is be able to say, “Hey, I want you to point at that and say, that’s me.” And I think the easiest and quickest way to point at something and say, “That’s me also.” has been music. And so it’s why it’s been my strongest medium. Again, it’s not my only medium. I’m talking to folks through the book, I’m talking to folks through fashion, et cetera, et cetera. But again, music has been just the quickest, easiest point A to point B conversation easer, if you will, about disability. Another thing I also love to use is humor and comedy. So I make jokes all the time. They’re all bad. They’re all very not good jokes. I need to probably get a joke writer, but the fact that I’m having such a good time telling the jokes, I think I think is all that really matters. So I think both music and humor are just really, really great spaces for two people to get to relate to something that may be difficult to talk about. Stephanie Flynt McEben: Yo, if you need a joke writer, I’m your girl. I actually do a joke every single episode of this podcast. Michelle Bishop: Her jokes are not better than yours, Lachi. Don’t hire her. Stephanie Flynt McEben: My jokes are pretty bad. They’re worse than dad’s jokes. They’re like granddad jokes. Alden Blevins: Yeah. Stephanie is the queen of the jokes on our podcast. She always brings one through. Didn’t know that you were working on a children’s music album, and I think that’s really interesting. I actually used to be a teacher, so children’s music is something that’s near and dear to my heart. So I just wanted to ask, what would you want to tell to younger people with disabilities, younger disabled creatives about claiming space and being able to tell their own stories? Lachi: Well, one thing that I heard from someone else, I don’t remember who it was. I think it was- Michelle Bishop: Jordan? Lachi: Yes, Jordan. He’s the one that said this. Michelle Bishop: I love him. Lachi: Yeah, he’s so funny. I met him at a… What did I meet him at? The Webby Awards or something. But anyway, no one can ever defeat someone who hasn’t given up. And for some reason that hit me, and I don’t even think he was trying to say it that deep. He was just saying a joke or something. But I took that and it was like, no one can ever defeat someone who hasn’t given up. So at the end of the day, you are really the only one who can end whatever you’re trying to get. Because as long as you are still going for it, it is still still there. It’s like a Schrodinger’s cat. It’s like as long as you’re still running for it, that opportunity is still there for you to have. The opportunity is never lost as long as you’re still going for it. And people can tell you, people can take your shoulders and tell you to go right. People can take your shoulders and tell you to go left. But until you take your own shoulders and go in the direction that your heart, your soul, your passion, your fire, desires, that is when you truly begin to live. And so I say personally, lean into that. I hear from a lot of younger, especially creators with disabilities. I mentor a lot of folks, tons and tons of folks. It’s one of the things I love to do the most. But what I love to tell folks is you are going to be the best you. And that you is going to include all of the different parts of who you are, but it is especially going to include you leaning in to the things that make you different and unique as unique selling points. Earlier I talked about how people try so hard to be the “definition of beauty”, definition of success, definition of whatever. Everyone’s trying to be this reference man. Everyone’s trying to be as close as they can to the reference man. And if I’m as close as I can to the reference man, then I’ll be successful or then I’ll get this job or then I’ll get this gig. But the truth of the matter is when we look at all of the people that are doing all of the big things, they’re “eccentric”. They’re “weird”. They did some big different idea that no one was thinking about and everybody fell into their trend. The further away you are from the reference man, that is when you start to win. That is when you’ll start to see success. That is when you’ll start to feel much better about yourself. That is when you can wake up in the morning, look in the mirror and say, “I am fine.” When you are able to accept all of those different freckles of yourself that are as far away from the reference man as possible, because guess what? There is room outside of the barrel for everyone to win if they are all being their unique self and running their unique purpose. That’s what I would tell to young disabled creators. Michelle Bishop: That’s amazing. Almost feel like we should stop there, but I have so many follow-up questions. Lachi: Listen, I’m here to drop as many mics as they will let me keep breaking. Michelle Bishop: I was wondering how you see the conversation around disability and inclusion and evolving these days. And a lot of our listeners are people with disabilities or people who have other even multiple intersecting identities in which they experience barriers as well. What does allyship look like to you? Lachi: This is one of my favorite questions. So yes, we have folks with disabilities and we have folks who want to work with people with disabilities, want to help a friend with a disability, want to make sure they don’t say the wrong thing to a person with a disability, neurodivergence, chronic condition, mental health condition. That’s not an ally. Wanting to help a person with a disability is not an ally. To me, wanting to support someone with a disability, that’s an ally in the very basic definition of allyship. Here’s what I think an ally is. To answer the question, I got to do two things. One, talk about the disability umbrella. So the disability umbrella encompasses so many forms of disability. It is neurodivergence, which is ADHD, dyslexia, OCD. It is mental health conditions like anxiety, depression, bipolar. It is someone who learns a little differently. It is someone who has explosive situations like anger management. It is someone who has substance abuse disorder, maybe somebody who drinks too much or uses different substances. It is chronic back pain. You know what I’m saying? It is asthma. It is EDS. It’s POTS. It is long COVID. It is different complications that you gain after pregnancy. It is different complications that you gain as you age. It is different complications you gain through menopause. It is temporary. It is breaking your arm and wearing a cast. It is seasonal depression. There is nobody on this earth that is not within the disability umbrella. And I don’t mean that you’re going to grow into it. I don’t mean in the future. I mean right now. Whether you identify as a person with a disability or not, you have disability identity because you have experience in your body disability. And when you figure that out, then you’re an ally. Allyship is seeing yourself through the other person because you can’t look through someone else’s eyes unless you can see yourself in them. And you can’t see yourself in disability until you recognize the disability identity within yourself. All of a sudden, and I say this and people are like, “What? I say this, but I’ve seen this. I’ve seen it happen. I’ve seen people who did not associate themselves with any form of disability or anything and they’re just like, Oh, them. Oh, I’ll help them. We have a conversation and then we have a follow-up conversation and then we’re drinking and then all of a sudden they’re telling me all their disabilities and then they’re walking a little different when they encounter disability. It’s no longer a them thing. And so that’s what an ally is. People with disabilities are also allies. I am an ally to the deaf community because I recognize though I’m not deaf, I see the having to navigate the world differently in you of myself. So that’s how I define an ally. An ally is someone who understands their own disability identity and can see it in others. Michelle Bishop: Don’t mind me over here just taking notes. Stephanie Flynt McEben: Literally. Oh my gosh. Lachi, thank you so, so, so much for being with us and taking time. I know that your website, lachimusic.com is one of the places where folks can stay up to date on all of the latest and greatest things that you’re up to. Is there anything else in particular you would like to plug for our listeners? Lachi: Like you said, LACHI, L-A-C-H-I M-U-S-I-C. I’m on the internets everywhere. Instagram, Spotify, check out the old music. If you’re a creator, a music creator or professional with a disability, check us out at RAMPD, R-A-M-P-D.org. Or if you want to donate or if you want to partner with us over at RAMPD, please do. If you are a cane user, whether you’re a blind cane user or you use Mobility Cane, check out glamcanes.com, get your canes bejeweled. I Identify as Blind, our book is out on Penguin Random House, imprint called Tiny Reparations by Phoebe Robinson, who is also a comedian. So we’re out here all writing very funny books. So please check it out. And lastly, listen, try to find moments in your day of disability joy. And when you find that moment, take a picture of it or write it down so that you can go back to it and live for those moments. So thank you guys so much for having me on this podcast. It’s really been a blast getting to talk at you about all things I identify as blind. Alden Blevins: I love it. I was over here taking notes too because I just found so much of myself in what you were saying and so many things were poignant and empowering. I, as an autistic person, try to be an ally to other parts of the disability community myself. And that’s something where I’m always trying to put myself in the shoes of another person and what they might experience. So I think that’s really powerful. We were so grateful to be able to connect and learn more about you, Lachi. Lachi: Yes, yes, yes. So honored to be here, guys. Michelle Bishop: Before you head out, Lachi, do you want to hear one of Stephanie’s grandpa jokes? Lachi: I was going to say, I was like, “Let’s hear one of these granddad jokes.” Let me see. Stephanie Flynt McEben: Okay. This might be- Michelle Bishop: Okay, do it. Stephanie Flynt McEben: … a granddad joke. Okay. Where do spiders like to get their information? Lachi: The web? Michelle Bishop: That would be something to do with web. Stephanie Flynt McEben: But what kind of web? Lachi: Wow. Really? You are fired from being my comedy writer. You are fired to be my comedy writer. I was rooting for you too. I was like, let’s just… Please. Stephanie Flynt McEben: I wouldn’t even get to the punchline yet. Michelle Bishop: Worldwide web? Stephanie Flynt McEben: It is the worldwide web. Michelle Bishop: Oh. Stephanie Flynt McEben: It’s fine. It’s fine. My wife warned me not to tell that joke this month and I didn’t lose it. Michelle Bishop: Oh my gosh. I’m so glad you stuck around for that part. Lachi: As I live and breathe. Thank you guys so, so much. This has been so much fun and I will see who else I can tell that joke to. And go ahead and just to help you out, Stephanie, I’ll go ahead and embarrass myself by telling that joke to others. Stephanie Flynt McEben: Not my best work, but that is allyship. Yes. Michelle Bishop: Oh my gosh, Lachi, thank you so much. And everyone, please lachimusic.com. Check it out. Listen to the music, read the book. Alden Blevins: Speaking of the worldwide web, this has been National Disability Radio. We celebrate stories, leadership, and talent of people with disabilities. If you enjoyed this episode, be sure to subscribe, share, and continue the conversation with us on that worldwide web at ndrn.org or anywhere you get your favorite podcasts. Thanks for listening and until next time. Stephanie Flynt McEben: Bye.

[REDIFFUSION] Bienvenue dans Les Fabuleux Destins, le podcast qui vous fait découvrir des histoires vraies et étonnantes. Cette semaine, partez à la découverte de quatre récits parfois méconnus de figures emblématiques de la musique : Nina Simone, Fela Kuti, Ray Charles ou encore Marvin Gaye. Plongez dans une saison consacrée aux légendes de la musique africaine et afro-américaine, et plus particulièrement à leur part d'ombre. L'afrobeat comme arme politique  Le 18 février 1977, l'armée nigériane attaque Kalakuta, la république autoproclamée de Fela Kuti. Ce jour-là, sa mère est violemment jetée par la fenêtre, et plus rien ne sera comme avant. Artiste de génie, agitateur politique, chef de communauté, Fela Kuti a fait de l'afrobeat une arme. Mais derrière la légende, il y a aussi l'homme, ses contradictions, son emprise. Ce destin est celui d'un roi : flamboyant, dangereux, inoubliable. Un podcast Bababam Originals Ecriture : Mary Lou Oeconomou Voix : Florian Bayoux  Learn more about your ad choices. Visit megaphone.fm/adchoices

Rock and Roll Hall of Famer and Texas City native Charles Brown is known around the world, serving as a major influence for some of the biggest names in music, like Ray Charles. In our new "Texas City Tells: History Uncovered" podcast, get to know the man behind the legend.Find out about his early days, when he worked as a chemist. Learn the real story behind his iconic pink Cadillac. And hear about the surprising impact visiting his family back home might have had on his career.Tune in to hear Texas City Museum curator Shelby Rodwell and Moore Memorial Public Library local history librarian & archivist Theresa Mayfield share stories about this important part of Texas City history!

Een uurtje onvervalste en oorspronkelijke degelijke jazz, met extra aandacht voor Martini Grey, de band ‘oet Grunn’ die aanstaande vrijdag aantreedt in Jazzpodium de Tor in Enschede. Playlist: Scott Hamilton: Besame Mucho; Houston Person & Friends: Willow Weep For Me; Dubbelaar: Billie Holiday: Moonlight in Vermont; Martini Grey, Francien van Tuinen: Maanlicht in Aartswoud; Martini Grey: Saint Martini; Martini Grey: Cinco Anos a Los Ángeles; Casey Abrams: Why Don’t You Do Right?; Oscar Peterson trio: Stormy Weather; Ray Charles, Milt Jackson: How Long Blues.

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Award winning novelist, Colum McCann joins Brendan to discuss the songs that have formed the soundtrack to his life, including Ray Charles' ‘Hit the Road, Jack' and Colm Mac Con Iomaire's ‘The Minbar of Saladin'. He also tracks his literary childhood, his 9/11 novel and his attempt to emulate Jack Kerouac by cycling across America.

A child prodigy, Billy Preston began performing at his local church in Los Angeles, but his talents on the keyboard and singing quickly led him to guest appearances on The Nat King Cole Show, and later touring with Ray Charles. Preston was a popular musician in his own right, known for hits like ‘Will It Go Round in Circles,’ and ‘Nothing From Nothing,’ but he also had a reputation for working behind the scenes with icons like Little Richard and The Beatles. Today on FilmWeek we talk with Paris Barclay, the director behind a new documentary on Billy Preston. Billy Preston: That’s the Way God Planned It is in select theaters.

Send a textOn the heels of the Olympics, the World Baseball Classic is nearly here, and David and Dan are excited about the chance to continue rooting for the United States, especially with Byron Buxton on the roster. They look around the league to see how the automated balls and strikes system is going while diving into the rosters of the WBC. They also look at the Minnesota Twins' roster, which is taking shape, even if there are more open spots and unknowns than there have been in many years. David is curious who will actually close games out of the bullpen, and Dan wonders how much room there is in the outfield -- and whose names will soon be on the jerseys available at the Twins online shop. Thanks for listening, and go Twins!The Gran Group with Edina Realty TWIN CITIES AREA REALTORS TO MEET ALL OF YOUR HOUSING NEEDS! Pulltab SportsMN for the Win is part of the Pulltab Sports Network - covering sports, culture, and entertainment aDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showMusic: "Minnesota Twins Theme" (1961) written by Ray Charles and Dick Wilson. Arrangement and performance by Jason Cain.Twitter/X: @MNfortheWin Facebook: https://www.facebook.com/MNfortheWinInstagram: https://www.instagram.com/mnforthewin/ Website: https://mnforthewin.buzzsprout.com/ Puckett's Picks Scoring 1pt per Base (H/BB/HBP) | 1pt per SB | 1pt per RBI -1pt per K | -1pt per Error | -2pt per GIDP +0.5 Point Bonus if Winning Player is Top Team Scorer Tie Breaker 1. Most HRs 2. Least Ks 3. Least LOBListeners always pick first, lowest score between Dan/David/Hoges picks second for next series

Canadian reggae rock band, Big Sugar, joins us on the season premiere episode of The Adamantium Podcast. Gordie Johnson and his newest line up of Anders Drerup and Root Valach discuss their joining, upcoming album, and touring the 30th anniversary of Hemi-Vision. Gordie also talks about early days in the Windsor/Detroit scene, his first gig with Molly Johnson playing with Ray Charles, love from Jack White, and playing at the infamous Woodstock ‘99.

Some say the “Sgt. Pepper”, post-touring era is the peak of The Beatles recorded music. Others prefer Korn. For those who are slightly more into The Beatles, Tony, T.J. and Producer Casey deep dish Episode 6 of “The Beatles Anthology”. This has always been one of the most fertile and astonishing chapters in Beatles history, but we can all be thankful that Disney truncated it by 15 minutes for those of us in a rush. Beep beep, toot toot, no time for the “For No One” bridge, damn it! And, sure! The UBP3zteetles (you try it, tough guy) talk “Anthology” 6 in great detail, but still find time to probe the throbbing questions, like:

On the podcast this week, we'll continue to mark Black History Month with selections from more recent musical artists. We'll hear from Ray Charles, Taj Mahal, Rhiannon Giddens, Dom Flemons, and even Aretha Franklin. History, resilience and progress … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysBooker T. & the MG's / “Rinky Dink” / Green Onions / AtlanticJon Batiste / “What A Wonderful World” / Hollywood Africans / VerveRhiannon Giddens / “Better Get It Right the First Time” / Freedom Highway / NonesuchMavis Staples / “No Time for Crying” / If All I Was Was Black / Anti-Ray Charles / “Moanin' / Genius + Soul + Jazz / ImpulseRay Charles / “Mess Around” / Mess Around / ProperWillie Dixon / “If the Sea was Whiskey” / The Big Three Trio / ColumbiaAretha Franklin / “Good Times” / I Never Loved a Man the Way I Love You / RhinoBooker T. & the MG's / “Green Onions” / Green Onions / AtlanticJayme Stone & Mansa Sissoko / “Bibi” / Africa to Appalachia / Self-producedTaj Mahal & Keb' Mo' / “Soul” / Tajmo / ConcordMr. Martin Simpson & Mr. Dom Flemons / “My Money Never Runs Out” / Proudly Present A Selection of Ever Popular Favorites / Fledg'lingMiriam Makeba / “Liwawechi” / Homeland / PutumayoCedric Watson / “Cochon De Lait” / Cedric Watson / ValcourPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

On today's show, Ray Charles records a classic and the Beatles meet The Champ.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayChapters: 00:00 Intro 00:32 What happened on this date in music history04:28 Music award ceremonies that were held on this date in music history04:56 Albums released on this date in music history 06:30 Singles released on this date in music history 07:47 Birthdays of music artists on this date in music history 09:09 Passings of music artists on this date in music history 10:18 What's on tomorrow's episode

Februar er Black History Month i USA, og i dagens sending går vi gjennom et utvalg av filmer som belyser afroamerikansk historie i statene. Vi snakker blant annet om regissørene Ava DuVernay og Spike Lee! I tillegg går vi inn på mer historiske filmer, samt kjendiser som Malcolm X og Ray Charles. Her er det masse å ta av. Godt lytt!

durée : 01:57:11 - Musique matin du mercredi 18 février 2026 - par : Jean-Baptiste Urbain - Sur les routes de France depuis un an pour sa tournée "Soul Tour" avec le batteur Manu Katché, Jean-Yves d'Angelo aux claviers et plusieurs musiciens et choristes, Michel Jonasz reprend ses grands titres en version soul. Un artiste heureux sur scène, inspiré par Ray Charles, Rachmaninov et Mozart. - réalisé par : Yassine Bouzar Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:27:07 - Michel Jonasz, auteur-compositeur-interprète - Sur les routes de France depuis un an pour sa tournée "Soul Tour" avec le batteur Manu Katché, Jean-Yves d'Angelo aux claviers et plusieurs musiciens et choristes, Michel Jonasz reprend ses grands titres en version soul. Un artiste heureux sur scène, inspiré par Ray Charles, Rachmaninov et Mozart. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Dr. David Brubeck rejoins the Feeding the Starving Artist podcast. Dave is an acclaimed bass trombonist, composer, and educator whose groundbreaking contributions to music have left an indelible mark on the world of brass performance. Best known for his innovative Stereograms—a collection of solo works for bass clef instruments published internationally—Brubeck has performed and recorded with legendary artists such as Stevie Wonder, Ray Charles, and Joni Mitchell. His scholarly work, including The Pedagogy of Arnold Jacobs, is frequently cited and reflects his dedication to advancing brass pedagogy.A third cousin of jazz pianist Dave Brubeck, Dave has performed at prestigious festivals and venues around the globe, showcasing his artistry in solo and duo formats, including his celebrated group, Duo Brubeck. As a professor of music and conductor, he has shaped generations of musicians, leading ensembles to national acclaim and developing innovative teaching methods. Dr. Brubeck's passion for performance and education continues to inspire audiences and students alike.Visit ⁠davidbrubeck.com⁠ to explore his music, writings, and more.

Send a textThe Minnesota Twins open up full squad workouts to kick off 2026 spring training in Fort Meyers, Florida. David and Dan discuss the most recent moves by the Twins including signing Anthony Banda, Andrew Chafin, Liam Hendiks, and Gio Urshela. The guys breakdown the new promotions being offered by the Twins to lure fans back to Target Field. Thanks for listening, and as always, go Twins!  The Gran Group with Edina Realty TWIN CITIES AREA REALTORS TO MEET ALL OF YOUR HOUSING NEEDS! Pulltab SportsMN for the Win is part of the Pulltab Sports Network - covering sports, culture, and entertainment aDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showMusic: "Minnesota Twins Theme" (1961) written by Ray Charles and Dick Wilson. Arrangement and performance by Jason Cain.Twitter/X: @MNfortheWin Facebook: https://www.facebook.com/MNfortheWinInstagram: https://www.instagram.com/mnforthewin/ Website: https://mnforthewin.buzzsprout.com/ Puckett's Picks Scoring 1pt per Base (H/BB/HBP) | 1pt per SB | 1pt per RBI -1pt per K | -1pt per Error | -2pt per GIDP +0.5 Point Bonus if Winning Player is Top Team Scorer Tie Breaker 1. Most HRs 2. Least Ks 3. Least LOBListeners always pick first, lowest score between Dan/David/Hoges picks second for next series

Performance and Works used with permission from the artist and venue. We are spoiled as a region with an immense amount of talent, as this episode of the program will illustrate. Jackie Warren is a legend behind the piano, from her work in the 3D Jazz Trio, to her work with Tito Puente and her place as one of the anchors of the Cleveland Jazz Orchestra. She leads this performance, where she's joined by Saxophonist Steve Kortyka. Beyond the four releases as a band leader, Steve is a core member of the Brian Newman Quintet and his work anchors releases by Tony Bennett and live performances with Lady Gaga. But wait, as they say, there's more. Jim Rupp joins this group on percussion and beyond some legendary performances with Woody Herman, Ray Charles and Natalie Cole and his extensive work as a drum educator Jim has forgotten more about drum performance than many of us will ever know. George Delancy rounds out this quartet on bass. George was a core member of the Larry Fuller Trio and has performed with Ben Patterson, Wynton Marsallis and Houston Person, among others. Enjoy this talented quartet as they perform a mix of standards and originals. From February 8th, 2025 it's the Jackie Warren Quartet…Live at the Bop Stop.

What does it mean to carry the legacy of a legendary musician while forging your own path in the world of music? Join host Buzz Knight on this encore episode of takin' a walk as he engages in a heartfelt conversation with A J Croce , the talented songwriter and pianist who not only shares his journey in music but also the profound impact of his father, the iconic Jim Croce. A. J. opens up about the emotional challenges of losing his father at a young age and how he discovered the depth of his father's music and legacy, a journey that shaped his own artistic identity. Throughout this episode, Buzz Knight dives into A. J. 's album, Heart of the Eternal, exploring the creative process that brought it to life. A J Croce shares insights into how he blends diverse musical influences—from jazz and rock to country—creating a unique sound that resonates with listeners. As they walk through the stories behind the songs, A. J. emphasizes the importance of collaboration, recounting his experiences working with legendary artists like Ray Charles and Leon Russell. These musician storytelling moments highlight the magic that happens when creative minds come together. This episode of takin' a walk is not just about music; it’s about resilience, legacy, and the transformative power of art. A. J. Croce's journey is a testament to how music can heal, inspire, and connect us all. As Buzz Knight guides listeners through this engaging conversation, you'll gain music history insights that will deepen your appreciation for the American music landscape and the indie music journey that A J Croce represents. Whether you're a fan of classic rock history or simply someone who loves musician interviews, this episode is packed with inspiring music stories that will leave you reflecting on your own life and the music that shapes it. Don’t miss out on this enriching episode of takin' a walk, where Buzz Knight and A. J. Croce explore the stories behind albums and the artistic reinvention that comes from embracing one’s roots and influences. Tune in for a walk through the heart of music, and discover how the threads of legacy and personal growth intertwine in the life of a musician. Join us for a conversation that celebrates the cultural impact of music and the inspiring artist interviews that remind us why we love this art form. #american music #music history on foot #inspiring music stories #career breakthrough #music legends #classic rock stories #Jim Croce stories #inspiring icons #songwriting stories #iconic musician #Leon Russell stories #viral music success #best musician interview podcastSupport the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Just as music brings us together and teaches us about the world, so too do music venues—many of which are spectacular destinations in their own right. These venues transcend the performance, shaping our understandings of music, history, and place.In this episode, host Angie Orth is back with travel writer and musician Edmund Vallance to share five music venues worth building an entire trip around. From historically significant spaces to acoustic marvels and intimate clubs where legends are born, Edmund reveals the venues that have moved him most and why they're worth traveling across continents to experience.You'll discover why a gospel service in Harlem belongs on every traveler's bucket list, learn about an ancient Greek theatre in Sicily where world-class artists still perform under the stars, and hear about Berlin's surprisingly affordable classical music scene. Edmund also shares his favorite outdoor venue in Austin and reveals the unpretentious London basement club where music history continues to unfold every night.What You'll Learn:0:32 Why the Gospel Harlem Tour is an unforgettable emotional experience 1:18 The ancient Greek theatre where Bob Dylan, Diana Ross, and Ray Charles performed 1:58 Berlin Philharmonic's incredible acoustics and surprisingly affordable ticket prices 2:52 Austin's Stubbs barbecue joint and outdoor venue 3:45 London's Notting Hill Arts Club, where future legends are foundConnect with Edmund Vallance:Journalism: http://www.edmundvallance.com/Music:  http://www.edvallance.com/Instagram: https://www.instagram.com/edmundvallance/Listen to his music on Spotify Have you traveled for music? Tell us where you've been in the comments! Connect with AAA:Book travel: https://aaa-text.co/travelingwithaaa LinkedIn: https://www.linkedin.com/company/aaa-auto-club-enterprisesInstagram: https://www.instagram.com/AAAAutoClubEnterprisesFacebook: https://www.facebook.com/AAAAutoClubEnterprises

OSCAR PETERSON fue un pianista y compositor canadiense. Un virtuoso considerado como uno de los mejores pianistas de clásica y de jazz de todos los tiempos. Publicó màs de 200 grabaciones . Ganó ocho premios Grammy y numerosos otros premios y distinciones. Hay quien dice que seguir su amplísima discografía es suficiente para tener resumidas las mejores composiciones musicales del pasado siglo. El programa lo dedicaremos a escuchar con el piano de OSCAR PETERSON 6 de algunas de las canciones más famosas del pasado siglo para, luego, escucharlas en versión vocal de los cantantes que las hicieron más populares. Y ahí nos aparecerán los nombres de FRANK SINATRA, ANIRA ODAY, SARAH VAUGHAN, RAY CHARLES, ELLA FITZERALD y DOMENICO MODUGNO.

Así sonaba febrero de 1966. Entrega mensual de la serie dedicada a recordar singles que alcanzaron su puesto más alto en listas de pop de EEUU hace 60 años.Playlist;(sintonía) HERB ALPERT and THE TIJUANA BRASS “Tijuana taxi” (top 38)JOHNNY LYTLE “The loop” (top 80)THE T-BONES “No matter what shape (Your stomach's in)” (top 3)NANCY SINATRA “These boots are made for walkin’” (top 1)THE SUPREMES “My world is empty without you” (top 5)STEVIE WONDER “Uptight (Everything's alright)” (top 3)THE MIRACLES “Goin to a Go Go” (top 11)MARY WELLS “(Can’t you see) You’re losing me” (top 94)THE KINKS “A well respected man” (top 13)THE WHO “My generation” (top 74)THE YOUNG RASCALS “I ain't gonna eat out my heart anymore” (top 52)THE STRANGELOVES “Night time” (top 30)SAM THE SHAM and THE PHARAOHS “Red hot” (top 82)FRANKIE VALLI “(You’re gonna) Hurt yourself” (top 39)JOHNNY and THE EXPRESSIONS “Something I want to tell you” (top 79)BUCK OWENS “Waitin’ in your Welfare Line” (top 57)RAY CHARLES “Cryin’ time” (top 6)LITTLE MILTON “We got the winning hand” (top 100)BERT KAEMPFERT and HIS ORCHESTRA “Bye bye blues” (top 54)Escuchar audio

Episode #311 of Blues From The Ouse delivers two hours of carefully curated blues, spanning brand-new releases, deep roots classics, powerful themes and listener-selected favourites.We open the show with fresh blues releases, featuring new music from Selwyn Birchwood, Robert John & The Wreck, Alex Lopez, and Ally Venable, including a Grammy-timed re-release with Buddy Guy. Expect modern electric swamp blues, retro revival sounds and blues-rock that bends the rules just enough.The first themed set, “The Legal Blues”, explores songs of judges, juries, prisons and punishment. From Furry Lewis and Bukka White's Parchman Farm Blues to Joe Bonamassa's cinematic re-working of Prisoner and Sonny Boy Williamson II's courtroom classic Your Funeral And My Trial, this is blues born from hard time and harder truths.Next, “Sight Unseen” shines a light on musicians who lost their sight but sharpened their sound. Featuring Ray Charles, The Blind Boys of Alabama, Sonny Terry, and Jeff Healey, this set celebrates artists whose hearing, feel and phrasing changed the shape of blues music forever.The second hour is all about listener requests, digging deep beyond algorithm playlists. Tracks come from Chicago Bob and the Blues Squad, John Mayall's Bluesbreakers, Hitman Blues Band, Canyon Lights, Sherman Robertson, The Zac Schulze Gang, and more — plus the latest Blues From The Ouse Gig Round-Up, highlighting upcoming UK blues shows and festivals.We wind the night down with The Great Divide, tracing the crossover between blues and country with The Allman Brothers Band, Freddie King, Eric Clapton, Mudcrutch, and Area Code 615.If you love modern blues, classic blues, UK blues radio, deep themes, and music with a story to tell, this episode is for you.#311 Blues From The Ouse Playlist:Blues From The Ouse - Show Intro - 00:00:00Selwyn Birchwood - The Church Of Electric Swamp Funkin' Blues - 00:02:05Robert Jon & The Wreck - Old Man - 00:10:02Alex Lopez - Your Lovin' - 00:13:08Ally Venable Band (ft. Buddy Guy) - Texas Louisiana - 00:18:39Furry Lewis - Judge, Harsh Me - 00:21:46Bukka White - Parchman Farm Blues - 00:25:56Joe Bonamassa - Prisoner - 00:28:33Sonny Boy Williamson II - Your Funeral and My Trial - 00:36:01Ray Charles - Feelin' Sad - 00:38:41The Blind Boys Of Alabama - Way Down In The Hole - 00:41:23Sonny Terry - Sonny's Whoopin' the Doop - 00:44:40The Jeff Healey Band - Hideaway - 00:49:12Chicago Bob and the Blues Squad - Whatcha Gonna Do - 00:55:57McHale's Permanent Brew - Too Many Mistakes - 01:00:29John Mayall's Bluesbreakers - Mr James - 01:03:50The Hitman Blues Band - Angel In The Shadows - 01:08:02Canyon Lights - Let Me In - 01:12:48Sherman Robertson - Me & My Guitar and the Blues - 01:18:40The Zac Schulze Gang - High Roller - 01:25:08Pat Fulgoni Blues Experience - Bleeding Heart - 01:29:03The Allman Brothers Band - Midnight Rider - 01:32:16Freddie King - Lonesome Whistle Blues - 01:34:54Eric Clapton - Tulsa Time - 01:37:37Mudcrutch - Six Days On The Road - 01:40:33Area Code 615 - Stone Fox Chase - 01:43:57Blues From The Ouse, UK blues radio, blues podcast, modern blues, classic blues, blues show, blues music, new blues releases, prison blues, legal blues, blind blues musicians, Ray Charles blues, Bukka White Parchman Farm, Selwyn Birchwood, Joe Bonamassa blues, Jeff Healey, Sonny Boy Williamson II, Ally Venable, Buddy Guy, John Mayall Bluesbreakers, listener requests blues, UK blues gigs, blues gig guide, blues radio showBlues From The Ouse is a weekly UK blues podcast and blues radio show, featuring modern blues, soul, blues rock, and grassroots music.From blues legends to the finest British blues artists, available worldwide.Links:

Alexa Ray Joel, the daughter of legendary singer/songwriter Billy Joel and supermodel/actress Christie Brinkley, talks about her own experiences as a songwriter and performer who draws from a deep well of personal experiences. PART ONEPaul and Scott talk about...(gasp!) NEW music! PART TWOOur in-depth conversation with Alexa Ray JoelABOUT ALEXA RAY JOELSinger, songwriter, and pianist Alexa Ray Joel released her debut EP Sketches in 2006 and has since released a series of singles, including the most recent, “Heavy Eyes.” The daughter of legendary singer-songwriter Billy Joel and supermodel and actress Christie Brinkley, Alexa Ray began writing songs as a teenager. Her performances at Café Carlyle have showcased her eclectic repertoire, including original songs, Broadway numbers, and nods to her father and Ray Charles, for whom she was named. The New York Times praised her as a “singer confidently following her heart.” She has been a part of The Gap's “Back to Blue” television ad campaign, and has ventured into the fashion world, appearing on magazine covers and participating in fashion weeks. She sang alongside her father in the final year of his Madison Square Garden residency in 2024 and says her favorite Billy Joel song is “Lullaby (Goodnight, My Angel),” which he wrote for her. Alexa Ray's “Heavy Eyes” follows on the heels of “Riverside Way,” which illustrates the sonic diversity of her music and is leading up to the release of a 5 song EP later this year. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Dr. David Brubeck joins the Feeding the Starving Artist podcast. Dave is an acclaimed bass trombonist, composer, and educator whose groundbreaking contributions to music have left an indelible mark on the world of brass performance. Best known for his innovative Stereograms—a collection of solo works for bass clef instruments published internationally—Brubeck has performed and recorded with legendary artists such as Stevie Wonder, Ray Charles, and Joni Mitchell. His scholarly work, including The Pedagogy of Arnold Jacobs, is frequently cited and reflects his dedication to advancing brass pedagogy.A third cousin of jazz pianist Dave Brubeck, Dave has performed at prestigious festivals and venues around the globe, showcasing his artistry in solo and duo formats, including his celebrated group, Duo Brubeck. As a professor of music and conductor, he has shaped generations of musicians, leading ensembles to national acclaim and developing innovative teaching methods. Dr. Brubeck's passion for performance and education continues to inspire audiences and students alike.Visit davidbrubeck.com to explore his music, writings, and more.

Send us a textFor as little as the Minnesota Twins roster has meaningfully changed this offseason, its front office and coaching staff has undergone substantial change. The latest move was the "mutual" departure of Derek Falvey, who had been with the organization for a decade, making key baseball decisions. Dan and Hoges discuss what can be made of the change and what it says about the frayed short-term future of the Twins, who appear destined for a sub-.500 season in 2026. Both Dan and Hoges are looking at a 2027 lockout as being more and more likely, which for the Twins might turn out to be just fine, given their current trajectory. Still, there is hope on the horizon with a handful of key prospects ready to play this season ... but who is going to pitch out of the bullpen? Thanks for listening, and go Twins!The Gran Group with Edina Realty TWIN CITIES AREA REALTORS TO MEET ALL OF YOUR HOUSING NEEDS! Pulltab SportsMN for the Win is part of the Pulltab Sports Network - covering sports, culture, and entertainment aDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showMusic: "Minnesota Twins Theme" (1961) written by Ray Charles and Dick Wilson. Arrangement and performance by Jason Cain.Twitter/X: @MNfortheWin Facebook: https://www.facebook.com/MNfortheWinInstagram: https://www.instagram.com/mnforthewin/ Website: https://mnforthewin.buzzsprout.com/ Puckett's Picks Scoring 1pt per Base (H/BB/HBP) | 1pt per SB | 1pt per RBI -1pt per K | -1pt per Error | -2pt per GIDP +0.5 Point Bonus if Winning Player is Top Team Scorer Tie Breaker 1. Most HRs 2. Least Ks 3. Least LOBListeners always pick first, lowest score between Dan/David/Hoges picks second for next series

In 2021, Dr. Dwayne Proctor became the president and CEO of Missouri Foundation for Health, following nearly two decades at the Robert Wood Johnson Foundation. He talks about the transition from national to state work—plus his early days touring with Ray Charles—and how to continue standing up for health equity.

L'info du matin - La règle japonaise des 3 minutes pour éviter les disputes de couple. Le winner du jour - En colère, un étudiant mange des œuvres réalisées par une IA. - Erika Moulet, a passé le casting de la Star Academy sur le titre "Et dans 150 ans" de Raphaël. Le flashback du jour - Août 2005 : "You're Beautiful" de James Blunt est numéro 1 des ventes de singles. - Côté albums, "Caravane" de Raphaël domine les charts. Les savoirs inutiles - "What I'd Say" de Ray Charles est né sans trop se prendre la tête, et pourtant le titre est devenu un énorme hit. La chanson du jour - Red Hot Chili Peppers "Can't Stop" 3 choses à savoir sur Pierre Niney Qu'est-ce qu'on regarde ? - Au cinéma, sortie du nouveau film de Pierre Niney, "Gourou". - Sur Netflix, arrivée de la saison 4 de "La Chronique des Bridgerton". - Sur Disney+, lancement de la série Marvel "Wonder Man". Le jeu surprise (Petit bac) - Morgan de Chambry (vers Meaux) gagne un iPad. Les coffres à jouets RTL2 - Jules, 13 ans, du Barroux (vers Carpentras) gagne une PS5. La Banque RTL2 - Claire d'Andouillé (vers Laval) gagne 700 euros. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This week's show, after a 1967 The Move move: brand new Sugar, Bevis Frond, Young Fresh Fellows (with Neko Case), New Pornographers, Cut Worms, Savages, Snail Mail, and Tombstones in Their Eyes, plus The Attack, Byrds, Big Three, Ray Charles, Coleman O...

Arriben dies de temperatures baixes i pluges gelades. Per aix

Gaea Star Crystal Radio Hour #653 is an hour of improvised visionary acoustic music played by The Gaea Star Band with Mariam Massaro on vocals, Native flute, dulcimer, harmonica, ukulele, Celtic harp, shruti box, acoustic guitar and mandolin, Bob Sherwood on piano and Craig Harris on congas and Native drum. Recorded live at Singing Brook Studio in Worthington, Massachusetts in early January of 2026, today's show begins with the compelling drive of “Drams Made Manifest”, an earthy rocker steered by Mariam's powerful lyric and chiming dulcimer before yielding to the gentle, melancholic “Swirling Eddies”, a pretty acoustic guitar ballad that gathers intensity with Craig's driving congas and Bob's focused, composed piano. “Medicine Of The Forest” is a somber, prayerful raga underpinned by Mariam's droning shruti box to which the ensemble adds more composed, thematic piano in Bob's Prokofiev mode and the deep thrum on Craig's Native drum as well as a soaring, inspiring vocal from Mariam. Mariam picks up her airy ukulele for the skipping, prayerful “Windy, Windy”, a shifting, darkening piece with tight playing from the group and “Peace Begins With Me” is a mystical, evocative song built on Mariam's chiming mandolin and Craig's deep heartbeat with a granitic, intense piano figure from Bob. Mariam wields her Native flute with long, arching phrases for the sparse, minimalist “Great Awakening”, an intense, cathedral-like song that unwinds mysteriously until yielding to the tight, swinging blues “Memories” a fine workout with Mariam carrying on a compelling harmonica and vocal performance, winding around Bob's Ray Charles-inspired 12-bar. Today's last song is the memorable “The Force Within”, a fine, burnished requiem with a soaring, mysterious lyric from Mariam and a strange, beautiful, repeating piano motif from Bob. Learn more about Mariam here: http://www.mariammassaro.com

Steve Lindsey is a wildly successful music entrepreneur. He's a musician, songwriter, producer, publisher and record label owner. He started out working with the legendary producer Richard Perry on albums by The Pointer Sisters, Elton John, Luther Vandross, Chaka Khan, and Ray Charles. He's gone on himself to produce artists like Marvin Gaye, Leonard Cohen, Aaron Neville, Celine Dion, Elton John and Chris Botti. He's worked with Cher and Keith Urban. He started several music publishing companies that published works by Bruno Mars and others. And he started several record labels. This man is a jack of all trades.My featured song is “All Of The Time”. It's a light, airy, whimsical love song. Spotify link.—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH STEVE:https://www.extrememusic.com/atonerecordings/------------------------------------------------------------ROBERT'S LATEST RELEASE:“MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars.CLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—---------------------------------------ROBERT'S RECENT SINGLE“MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

Send us a textAs Major League Baseball's stars sign big contracts, and as the other 29 teams make efforts to improve their roster heading into the 2026 season, the Minnesota Twins have filled their offseason with signings that equate to visits to the Dollar Store. David and Dan recap what's gone on around the league over the last month and the parade of utility players who have signed with the Twins. The pieces, David argues, simply don't fit together. Dan wonders whether there is a grand design behind all of it. But at least the smell of fresh-cut grass (at least on the fields in Florida) is only a month away. Thanks for listening, and go Twins!The Gran Group with Edina Realty TWIN CITIES AREA REALTORS TO MEET ALL OF YOUR HOUSING NEEDS! Pulltab SportsMN for the Win is part of the Pulltab Sports Network - covering sports, culture, and entertainment aDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showMusic: "Minnesota Twins Theme" (1961) written by Ray Charles and Dick Wilson. Arrangement and performance by Jason Cain.Twitter/X: @MNfortheWin Facebook: https://www.facebook.com/MNfortheWinInstagram: https://www.instagram.com/mnforthewin/ Website: https://mnforthewin.buzzsprout.com/ Puckett's Picks Scoring 1pt per Base (H/BB/HBP) | 1pt per SB | 1pt per RBI -1pt per K | -1pt per Error | -2pt per GIDP +0.5 Point Bonus if Winning Player is Top Team Scorer Tie Breaker 1. Most HRs 2. Least Ks 3. Least LOBListeners always pick first, lowest score between Dan/David/Hoges picks second for next series

Today, it is finally happening - Frizz and Bob tackle one of the greatest genre bending albums of all time. Frizz pours a genre bending scotch finished in a bourbon barrel. Bob pours a genre bending bourbon finished in a scotch barrel. Things go crazy while we talk about the history of race records, a man named Fathead, Diet Pepsi, country classics, smarketing, and uncover yet another tie to yacht rock.

James has another action-packed radio dance party full of 1960s tunes by Ray Charles, Bob and Earl, Johnny Guitar Watson, Bobby Byrd, Alvin Cash, The Steinways, Maxine Brown, Betty Everett, and more! We'll get Loaded, Broke and Lonely, Work Together, Donkey Walk, and Do the Ali Shuffle. Today's unexpected artist with That Driving Beat: The Osmonds?! -Originally broadcast January 18, 2026- Willie Mitchell / That Driving BeatRuby Johnson / Keep on Keeping OnFour Pennies / Shake A HandThe Knight Bros. / Love (Can't You Hear Me)Ray Charles & The Ray Charles Orchestra / Something Inside MeBob and Earl / The SissyThe Drifters / We Gotta SingJohnny Flamingo and the Cleartones / I Got LoadedJohnny (Guitar) Watson / Broke and LonelyTrade Martin / Sixteen TonsBobby Byrd / I'm LonelyLeRoy Horne / Don't Come Back (Take Me Through the Changes)Sugar Pie DeSanto / Soulful DressBig Dee Irwin / Donkey WalkTony Borders / What Kind Of SpellAlvin Cash / Doin' the Ali ShuffleRoscoe Robinson / What You're Doin' to MeJoe Simon / I Got A Whole Lot Of Lovin'The Box Tops / Fields Of CloverThee Midnighters / I've Come AliveWilbert Harrison One Man Band / Let's Work Together (Pt. 1)Lena Horne / Love BugLucy Campo / Evil EyeThe Rays / Mediterranean MoonPaul Anka / My Baby's Comin' HomeThe Steinways / You've Been Leadin' Me OnElmore Morris / It Seemed Like Heaven to MeThe Osmonds / Yo-YoJay & The Techniques / Help Yourself To All My Lovin'James Duncan & the Duncan Trio / I'll Be GoneGeorge Jackson / So Good To MeBobby James & Vicki Adams / Love is Such a Sweet ThingJohnny Adams / Life Is Just a StruggleMaxine Brown / One in a MillionBetty Everett / Getting Mighty CrowdedTammy Montgomery / If I Would Marry YouBrooks & Jerry / I Got What It Takes Part 1 Hosted on Acast. See acast.com/privacy for more information.

You'd better ‘Think' before you tune in to our next podcast discussing the 1980 comedy musical ‘The Blues Brothers'. Played by Dan Aykroyd and John Belushi, the title Brothers set out on a mission to save an orphanage by reuniting their R&B band. Also starring Carrie Fisher and musical legends Aretha Franklin, James Brown and Ray Charles. Tune in and let us see you shake your tail feather!

Ray Charles Robinson was an American singer, songwriter, and pianist, regarded as one of the most influential musicians in history.

Frankie Miller has one of those voices that stops you mid-sentence — gritty, soulful, aching, and unmistakably real. It's the sound of lived experience, shaped by smoky pubs, late nights, hard miles on the road, and a deep love of rhythm and blues. Born William Malcolm Miller in 1949, in Glasgow, Scotland, Frankie grew up in a working-class environment where music wasn't a luxury — it was a lifeline.As a teenager, Frankie was already soaking up American blues and soul records, falling hard for artists like Muddy Waters, Otis Redding, and Ray Charles. Those influences never left him. You can hear them in every rasp, every shout, every tender moment in his singing. By the late 1960s, he was fronting his own band, Frankie Miller and the Powerhouse, building a reputation as a formidable live performer around the UK. Long before the record deals and chart success, Frankie was earning his stripes the old-fashioned way — on stage, night after night.His big break came in the early '70s when he signed to Chrysalis Records. His debut album Once in a Blue Moon (1972) immediately showcased his emotional range and powerful voice. The album also revealed something else: Frankie wasn't just a belter — he was a storyteller. Songs like “I'm Falling in Love” hinted at the soulful depth that would define his career.Over the next decade, Frankie Miller released a run of albums that firmly established him as one of the great blue-eyed soul singers of his generation. Records like High Life (1974), The Rock (1975), and Full House (1977) blended rock, soul, and blues with effortless confidence. The Rock in particular is often cited as a high point — raw, energetic, and brimming with personality. It also helped cement his reputation internationally, especially in the United States, where his sound resonated deeply.Frankie's songwriting talent didn't go unnoticed either. In fact, some of his most famous songs became hits for other artists. “Darlin',” co-written with Ian McLagan, was famously recorded by Elvis Presley, while “You Don't Know” was covered by artists including Ray Charles. Rod Stewart also became a close friend and champion, recording several Frankie Miller songs and helping introduce his music to an even wider audience. It was clear: musicians loved him as much as fans did.Despite the success, Frankie never chased trends or tried to polish away the rough edges that made him special. His voice remained raw and honest, often sounding like it might crack — and sometimes it did — but that vulnerability was exactly the point. He sang like someone who meant every word.Then, in 1994, everything changed. Frankie suffered a massive brain hemorrhage that left him unable to speak or sing, abruptly ending his performing career. It was a devastating blow, not just to fans, but to the music world as a whole. One of rock and soul's most distinctive voices was suddenly silenced.In the years that followed, Frankie's wife helped him through a long and difficult recovery. While he would never return to the stage, Frankie's spirit — and his music — endured. Fellow musicians rallied around him, and tribute albums like A Tribute to Frankie Miller helped reintroduce his catalogue to new listeners while honoring his immense influence.Today, Frankie Miller is remembered not just for his powerful voice, but for his authenticity. He was never a glossy superstar or a carefully manufactured rock icon. He was a singer's singer — admired by peers, respected by critics, and adored by fans who recognised something deeply human in his music.Frankie Miller's songs still feel alive because they come from a place of truth. Whether he was roaring through a blues rocker or whispering through a tender ballad, he sang like a man laying his heart on the line. Joining us this week is Scottish author, Davy Arthur who has recently penned a book to honour Frankie. You can pick up the book 'Long Way Home' - The Frankie MIller story here. It's published by New Haven

In this episode I talk with Miles Woodroffe, CTO of Mindful Chef. We discuss his music career touring with The Specials and working with Bob Dylan and Ray Charles, how he transitioned into tech, building great teams, and finding people who enjoy working together.Links:mileswoodroffe.comMindful ChefNonsense Monthly

(Lander, WY) – The KOVE 1330 AM / 107.7 FM Today in the 10 interview series Coffee Time continued today with host Vince Tropea, who recently spoke with Ray Charles, one of the organizers behind bringing live-streamed performances from the Metropolitan Opera in New York City to the Lander Library. Charles recently teased the first batch of operas that will be streamed, and returned to share what the second half of the season looks like, starting with “I Puritani” tomorrow, January 10, at 10:55 AM. Charles also talks about the rest of the operas folks can expect to enjoy, and be sure to listen to the full Coffee Time interview, as a number of those performances will have different start times at the library. Be sure to tune in to Today in the 10 and Coffee Time interviews every morning from 7:00 to 9:00 AM on KOVE 1330 AM / 107.7 FM, or stream it live right here.

Mazel morons! It's 2026, the guys are officially TOPICAL, and Josh and Ben are BACK after the longest holiday limbo known to mankind. From surviving two weeks of nonstop childcare to debating whether beards are freeing or deeply unsettling, this episode is a full-tilt New Year catch-up. We're unpacking Christmas chaos, Florida house parties with valet and caviar bumps, questionable Santa encounters, Costco tuna revelations, and why Elf on the Shelf might actually be a government informant. Plus: caffeine interventions, supplement regret, failing big as a life goal, parenting breakthroughs, Tim Allen slander, and Ray Charles facts that will stop you in your tracks. What are ya nuts? Love ya! Leave us a voicemail here!Follow us on Instagram and TikTok! Sponsors:Pique - Secure 20% off your order and begin your intentional wellness journey today at Piquelife.com/goodguys.Hims- To get simple, online access to personalized, affordable care for ED, Hair Loss, Weight Loss, and more, visit Hims.com/GOODGUYS.Little Spoon - Get 30% off your first online order at littlespoon.com/GOODGUYS with code GOODGUYS at checkoutMomentous - Head to livemomentous.com, and use promo code goodguys for up to 35% off your first order.Please note that this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.Produced by Dear Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sexta y última entrega de la serie dedicada a repasar 2025 a través de 100 canciones favoritas del año. Un episodio dedicado exclusivamente a versiones.Playlist;THE CHARADES “Sherlock Holmes themes; The Opening – The game is on” (David Arnold y Michael Price)THE UNTAMED YOUTH “What do I get” (Buzzcocks)KEITH STRENG “I’m a boy, I’m a girl” (Johnny Thunders)MURAT AKTÜRK “Seher vakti” (Bariç Manço)THE DAMNED “There’s a ghost in my house” (R Dean Taylor)DEATH VALLEY GIRLS “Fire and bristone” (Link Wray)PAUL WELLER “Pinball” (Brian Protheroe)THE RUBINOOS “Mediterraneo (party mix)” (Los Rebeldes)CABALLERO REYNALDO “Ojos de serrín” (Doctor Divago)LOS JAGUARES DE LA BAHÍA “Mi plan genial” (Plastic Bertrand-Elton Motello)GO CACTUS “Palma Barcelona (Skeggs)LISA BEAT and THE LIARS “Heart to heart, face to face” (The Twins)TIBURONA “’39” (Queen)JON BATISTE “Lonely Avenue” (Ray Charles)ROBERT PLANT with SUZI DIAN “It’s a beautiful day today” (Moby Grape)ANNIE DOLAN y JOEL PATERSON “Cry me a river” (Julie London)THE LIMIÑANAS “Oú va la chance” (Françoise Hardy-Phil Ochs)Escuchar audio

Sean Mason stands as one of the most compelling jazz pianists, composers, and record producers of his generation. A Grammy Award nominee, Bessie Award winner, and Bistro Award recipient, Mason has quickly distinguished himself in contemporary music through his innovative approach and profound connection to jazz tradition. His discography, highlighted by his critically acclaimed 2023 debut album The Southern Suite and Grammy-nominated collaborations, reflects an artist of significant impact on the global jazz landscape. Mason's musical journey began at age 13 in his native Charlotte, North Carolina, where he taught himself piano, influenced by gospel music and the music of Ray Charles. At 15, his talent led him to enroll in the JazzArts Initiative Camp in Charlotte, North Carolina. At age 17, Mason won the inaugural Loonis McGlohon Young Jazz Competition, an award that included an opportunity to perform as guest soloist with Delfeayo Marsalis. A pivotal moment arrived in 2017 while Mason was attending the University of North Carolina at Greensboro (UNCG). He met Branford Marsalis, who was giving lessons there. Marsalis, recalling their encounter, recounted how Mason impressed him by quickly learning and memorizing complex pieces. Marsalis subsequently advised Mason to consider The Juilliard School, telling him directly: "You might want to consider Juilliard. Go to their website, put in your audition tape, and they will call you." He also contacted his brother, Wynton Marsalis, Director of Juilliard Jazz, asking him to "Be on the lookout for this kid." This significant endorsement propelled Mason to Juilliard, where he was accepted and enrolled in 2018, leading to his relocation to New York City for his studies. Upon arriving in New York in 2018, Mason quickly established himself in the city's jazz scene through his work as a sideman. Concurrently, he formed his own trio, featuring bassist Butler Knowles and drummer Malcolm Charles. This trio performed at notable New York City jazz venues such as Dizzy's Club and Smoke Jazz Club. From 2019 to early 2020, Mason's trio cultivated a dedicated following through a consistent after-hours residency at Smalls Jazz Club, performing every other Monday, from 1:00 AM to 4:00 AM. This residency continued until the onset of the COVID-19 pandemic. During this initial period in New York, Mason also contributed as the pianist for the soundtrack of the 2020 Netflix film Ma Rainey's Black Bottom. The years following the pandemic saw Mason continue his vital work as a sideman, touring globally with various artists and contributing to numerous album recordings. His versatility expanded into film and theatre; he served as pianist for the soundtrack of the 2021 Emmy-nominated History Channel documentary Tulsa Burning: The 1921 Race Massacre, and the Netflix film Rustin. In theatre, Mason was involved in various musical roles for Broadway productions such as Hadestown and Phantom of the Opera.. During this time, Mason also served as musical director for The Soapbox Presents, a Harlem-based performing arts organization. In August 2022, Mason was recognized by NPR's Jazz Night in America as a member of their inaugural Youngbloods class, a sub-series featuring up-and-coming jazz musicians acknowledged for revolutionizing the genre. Also in 2022, Mason formed his quintet, the ensemble featured on his debut album The Southern Suite. This group, consisting of Tony Glausi (trumpet), Chris Lewis (tenor saxophone), Felix Moseholm (bass), and Domo Branch (drums), performed on a two-week tour sponsored and presented by Jazz at Lincoln Center as part of an initiative to develop new music. On October 27, 2023, he released his debut album as a leader, The Southern Suite, on Blue Engine Records, Jazz at Lincoln Center's in-house label. This marks Mason's emergence as a formidable bandleader, composer, and recording artist. Featuring his quintet, the album received widespread critical acclaim. Jazziz Magazine praised its "captivating blend of sophistication and raw emotion," noting its "contemporary jazz sound rooted in tradition while remaining utterly fresh." Paris-Move lauded it as "a powerful and sophisticated work" and "a masterpiece of contemporary jazz." NPR recognized the album as part of his "meteoric rise" and praised its unique sound. The Southern Suite is a deeply personal exploration of Mason's North Carolina roots, woven into a cohesive artistic statement. Mason's artistic contributions were further recognized with a Bessie Award in 2023 for Outstanding Sound Design and Music Composition for his work on The Jazz Continuum. His creative spirit continued to flourish in 2024 with two notable co-releases. He joined forces with poet Mahogany L. Browne for Chrome Valley, a project that uniquely blends jazz with spoken word. The same year, on August 23, 2024, Mason's collaborative album My Ideal with acclaimed vocalist Catherine Russell arrived on Dot Time Records. This duo album quickly earned a Grammy Award nomination for Best Jazz Vocal Album at the 67th Annual Grammy Awards. My Ideal was further honored with a 2025 Bistro Award for Outstanding Recording, with critics frequently commending Mason's "sophisticated and nuanced piano playing" and his profound ability to complement Russell's vocals through a deep understanding of jazz standards. Today, Sean Mason maintains an active and extensive international performance schedule as a bandleader and solo artist. He consistently presents at major jazz festivals and prestigious venues across the globe, solidifying his position as a dynamic and influential force in contemporary jazz.

This episode of The Other Side of the Bell, featuring trumpeter performer and recording artist Paul Litteral, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Paul Litteral trumpet interview"   Find the expanded show notes, transcript and more photos here: https://bobreeves.com/blog/paul-litteral-trumpet-interview-the-other-side-of-the-bell-147   About Paul Litteral: Hollywood Paul Litteral began to build his career playing in Broadway hits such as The Best Little Whorehouse in Texas, A Chorus Line and Chess. In 1978, Paul and saxophonist Arno Hecht founded the well-known group called the Uptown Horns. As their visibility increased, the band was recruited for rock and roll gigs and played many of New York's most famous clubs. Paul and the Uptown Horns went on their first rock and roll tour with the J. Geils Band in 1981 and that led to many other opportunities including engagements with The Rolling Stones, Robert Plant, Tom Waits, Joe Cocker, James Brown, Pat Benatar, and Ray Charles. The band lists recording credits on over 150 albums including James Brown's Grammy Award winning "Living in America" and tracks for Joe Cocker, Albert Collins, Bonnie Raitt, Robert Palmer, Lou Reed and REM. In addition to continuing to play music, he began writing and found critical success with Hoboken to Hollywood, which earned him the 2011 Ovation Award for Musical Direction. Paul was also awarded Best Musical Direction by Stage Scene LA for Louis & Keely: Live' at the Sahara, which had a record run, playing to sold out audiences at the Geffen Playhouse. "Hollywood" Paul earned his nickname back in the 1980's due to his prodigious knowledge of film lore. Though his extensive contributions to the LA music scene have also helped add to that fabulous moniker. Paul's fame is within the world of Rock and Roll. On his latest album, "The Litteral Truth," he brings us a collection of songs that inspired his personal musical development. The Brecker Brothers, Edgar Winter and Steely Dan are a few of the artists we cover on the record, and revisiting these great cuts and reinterpreting them was a joyous excursion for all involved. Paul is a fun and talented man, and his records are spreading the joy of knowing him. -Bill Bodine   Episode Links: Outrageous 8 Records Find the albums here: The Litteral Truth Legacy Instagram (@paullitteralmusic) YouTube channel The Other Side of the Bell Episode #92 - Paul Litteral (first appearance)   Bob Reeves Brass Upcoming Events and Appearances: Trumpet Festival of the Southeast, Jan. 17, 2026, Kennesaw State University, Georgia Texas Music Educators Association Conference, Feb. 11-14 2026, San Antonio, Texas Dylan Music, Feb. 26-28, Woodbridge, New Jersey   Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Cover Photo Credit - Paul Litteral Audio Engineer - Ted Cragg