Podcasts about RCA

Following up the guitar masterpiece of OK Computer, Radiohead threw the music world for a loop with Kid A. Twenty five years after its release, hosts Jim DeRogatis and Greg Kot talk with author Steven Hyden about how the album was made and its lasting impact. They also discuss the life and career of the Sex Pistols and New York Dolls manager Malcolm McLaren.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Radiohead, "Idioteque," Kid A, Parlophone, 2000The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Radiohead, "How To Disappear Completely," Kid A, Parlophone, 2000Radiohead, "Subterranean Homesick Alien," OK Computer, Parlophone, 1997Travis, "Writing To Reach You," The Man Who, Independiente, 1999Autechre, "Rae," LP5, Warp, 1999Radiohead, "Fake Plastic Trees," The Bends, Parlophone, 1995Radiohead, "Everything In Its Right Place," Kid A, Parlophone, 2000Radiohead, "Kid A (Live)," Unreleased, N/A, 2001Radiohead, "Kid A," Kid A, Parlophone, 2000Radiohead, "Treefingers," Kid A, Parlophone, 2000Radiohead, "The National Anthem (Live)," Unreleased, N/A, 2001Radiohead, "15 Step," In Rainbows, Parlophone, 2007Radiohead, "The National Anthem," Kid A, Parlophone, 2000Sex Pistols, "Anarchy In the U.K.," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "God Save the Queen," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "Pretty Vacant," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Bow Wow Wow, "I Want Candy," The Last of the Mohicans, RCA, 1982Malcolm McLaren, "Buffalo Gals," Duck Rock, Virgin, 1983The Raincoats, "Lola," The Raincoats, Rough Trade, 1979See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on The Beat, CTSNet Editor-in-Chief Joel Dunning discusses how to get involved with Pace4Life, a charity he supports that provides reconditioned pacemakers to Ghana. He also previews upcoming podcast episodes and guests, including discussions on the Ross procedure guidelines and more interviews related to the JCOG0802 trial.  Chapters 00:00 Intro  02:31 JANS 1, Ethiopian Surgeon  07:08 JANS 2, RCA to Cor Sinus Fistula  09:30 JANS 3, Y-Incision Hemodynamics  12:38 JANS 4, Endograft Infection  15:06 Instructional Video Competition  16:01 Career Center  16:40 Video 1, Complications Podcast  19:34 Video 2, Totally Endoscopic Case  21:23 Video 3, Post-Infarction VSD Repair  23:15 Closing, Upcoming Events  Joel also highlights recent JANS articles on a heart surgeon who saved another surgeon's life as a teen and how they now perform surgeries together, right coronary artery to coronary sinus fistula, a surgical aortic valve replacement with Y-incision aortic annular enlargement provided better hemodynamics than transcatheter aortic valve replacement, and management of endograft infection after thoracic endovascular aortic repair.  In addition, Joel explores totally endoscopic mitral and tricuspid valve repair, ASD with APVR repair, and LAA occlusion, as well as the repair of a post-infarction VSD, and an episode of The Atrium podcast featuring host Dr. Alice Copperwheat speaking with Dr. Samer Nashef about complications in cardiothoracic surgery. Before closing, Joel highlights upcoming events in CT surgery.    JANS Items Mentioned  1.)  A Heart Surgeon Saved His Life as a Teen. Now They Perform Surgeries Together.  2.) Right Coronary Artery to Coronary Sinus Fistula: A Rare Problem With an Elegant Solution  3.) Surgical Aortic Valve Replacement With Y-incision Aortic Annular Enlargement Provided Better Hemodynamics Than Transcatheter Aortic Valve Replacement  4.) Management of Endograft Infection After Thoracic Endovascular Aortic Repair  CTSNet Content Mentioned  1.) The Atrium: Complications  2.) Totally Endoscopic Mitral and Tricuspid Valve Repair, ASD With APVR Repair, and LAA Occlusion  3.) Repair of a Post-Infarction VSD  Other Items Mentioned  1.) Pace4Life   2.) MICS and Robotic-Assisted Surgery: A Roundtable Discussion With the Endoscopic Cardiac Surgeons Club  3.) Instructional Video Competition  4.) 2025 CTSNet Recruitment Guide   5.) Career Center   6.) CTSNet Events Calendar  Disclaimer The information and views presented on CTSNet.org represent the views of the authors and contributors of the material and not of CTSNet. Please review our full disclaimer page here.

Clint Black, country music legend, opens up about his remarkable debut album that achieved something unprecedented in music history—five consecutive number-one hits across any genre. The Houston native spent a decade "eking out a living" performing in bars around Houston, Tomball, Clear Lake, Surfside, Galveston, and Spring before his overnight success, including one surreal night performing for an audience of just one—a heavily intoxicated woman who told him he "kicked her in the gut" before rummaging through her purse for what he feared might be a gun. Black shares the origin story of his hit "Killing Time," born from a conversation with songwriting partner Hayden Nicholas about how slowly the music industry wheels were turning during a drive to yet another $50 gig. He reveals that while he believed in his songs and knew he was with a strong record company (RCA), he didn't truly understand how unlikely his success was until articles explained that having the year's number one and two singles hadn't happened for a solo artist since Hank Williams 35 years prior, and five consecutive number-ones had never happened in any music genre in history.The artist reflects on his adventurous Houston childhood, including dangerous bayou expeditions where he nearly drowned being trapped underwater by a fallen tree with a poisonous water moccasin in his face, requiring three attempts to surface before his friend Mark Hogue grabbed the snake by the tail and flung it away. Black offers profound wisdom from his 29-year marriage to actress Lisa Hartman Black, sharing Roy Rogers' advice to "never go to bed angry" and his own communication philosophy learned from studying psychology—never tell someone what their intent was, only how they made you feel, allowing them to correct misunderstandings while assuming the best of their intentions. He promotes his new album "Out of Sane" releasing June 19th with all original songs except a reinvented cover of Harry Nilsson's "Everybody's Talking," and discusses his work honoring fallen Navy SEAL Kyle Milliken through his music video "America's Still in Love with You" and efforts to drive support to the Kyle Milliken Foundation, which assists Gold Star Families and struggling military community members. Black emphasizes the privilege of meeting great Americans who sacrifice so much, encouraging fans to contribute to the foundation because "nickels and dimes add up to millions of dollars and they will change lives."

In this Mol Bio Minutes mini-episode, Laurynas Alijošius shares how Rolling Circle Amplification (RCA) provides a reliable, high-yield approach for amplifying circular DNA prior to next-generation sequencing (NGS). This isothermal method avoids the need for thermal cycling and even bypasses the need for specific primers—making it ideal for challenging viral genomes, rare targets, or field samples.Powered by the strand-displacing phi29 DNA polymerase, RCA amplifies DNA with impressive sensitivity and minimal GC bias. Laurynas breaks down the steps of multiple displacement amplification (MDA), explains why exonuclease-resistant primers are important, and explores how engineered polymerases like EquiPhi29™ DNA Polymerase dramatically improve yield and reduce reaction times. RCA products can be cleaned up and debranched to support a range of downstream workflows, including nanopore sequencing and transcriptomics.From single-cell genomics to phage-based applications and in vitro expression systems, RCA is more than just a pre-NGS step; it's a versatile tool with broad utility. Whether you're stabilizing viral RNA or tackling ultra-low-input samples, RCA and whole genome amplification offer new flexibility for today's demanding sequencing workflows. Subscribe to get future episodes as they drop and if you like what you're hearing we hope you'll share a review or recommend the series to a colleague.  Visit the Invitrogen School of Molecular Biology to access helpful molecular biology resources and educational content, and please share this resource with anyone you know working in molecular biology. For Research Use Only. Not for use in diagnostic procedures.

En Centrafrique, un simple bac est devenu, au fil des décennies, bien plus qu'un moyen de traverser la rivière Lobaye. Depuis 1965, la liaison entre Mongoumba, en Centrafrique, et Betou, en RDC, relie chaque jour deux villes frontalières… et deux peuples. Camions de marchandises, véhicules, motos, passagers : tous empruntent cette traversée qui fait circuler produits, services et espoirs entre les deux pays. Malgré son ancienneté et des moyens modestes, ce bac reste un symbole vivant pour la région. Une activité tenue par les jeunes de la localité qui en ont fait à la fois une source de revenus et un véritable vecteur du désenclavement.  De notre correspondant de retour de Mongoumba, À l'aube, lorsque la brume flotte encore au-dessus de la Lobaye, les premiers voyageurs apparaissent sur la rive, silhouettes tranquilles dans la lumière naissante. Ici, pour la traverser, on emprunte le bac : une plateforme en bois et en métal, portée par la force du courant, guidée par des conducteurs comme Sylvestre : « Ce bac c'est toute ma vie. Un métier simple et essentiel. Je transporte des véhicules, des camions et des cargaisons entières. Certains traversent pour aller faire du commerce, d'autres rejoignent leur famille, il y a également ceux qui partent au travail. » Le vacarme du moteur se mêle aux conversations. Femmes, hommes et enfants montent les uns après les autres. Chacun avec sa raison de traverser la rivière, mais le passage est le même pour tous. Bernice est une agricultrice. « Ce bac est comme un vieil ami pour moi. Sans lui, je ne suis rien. Mon champ se trouve de l'autre côté, et le bac est le seul moyen pour m'y rendre. Je monte toujours à bord avec mes paniers. Durant la récolte, c'est grâce à ce bac que j'achemine tous mes produits vers les grandes villes et les marchés. » Cohésion entre les habitants Lorsque le bac s'éloigne de la rive, un silence particulier s'installe. Tout le monde regarde l'eau. L'ombre des arbres se reflète sur la surface fluide. La dépendance à ce bac préoccupe Léopold Kossolo, le chef du village de Bac-Lobé-Yapo. « Ce bac est pratiquement le seul dans la région. S'il tombe en panne, toutes les villes alentour se retrouveront isolées les unes des autres. Ce bac renforce la cohésion entre les habitants, il nous rapproche. Bien sûr, il existe des pirogues, mais leurs capacités sont limitées. Il serait plus simple d'installer deux bacs ici et pourquoi pas de construire un pont sur la rivière. » Soudain, l'autre bord apparaît. Les premiers enfants accourent, et l'agitation reprend. Les passagers débarquent, chacun reprenant sa route, laissant derrière eux la courte traversée qui, pourtant, rythme le quotidien de toute une région. « Le bac a plus de 40 ans. Tout le monde sait que la rivière Lobaye est très profonde. Pour éviter tout drame ou naufrage, il est nécessaire de procéder à sa réhabilitation complète et, si possible, d'installer des équipements de sauvetage en cas d'accident. Chaque jour, des centaines de personnes font des allers-retours à cet endroit », explique Léopold Kossolo. La construction d'un pont sur la rivière Lobaye est en cours. Elle s'inscrit dans le cadre du projet du corridor 13, un programme de construction routière reliant la République du Congo, la RCA et le Tchad, financé par la Banque africaine de développement (BAD). À lire aussiRépublique centrafricaine: la Basse-Lobaye un trésor de biodiversité en péril

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Every few years, the world of product management goes through a phase shift. When I started at Microsoft in the early 2000s, we shipped Office in boxes. Product cycles were long, engineering was expensive, and user research moved at the speed of snail mail. Fast forward a decade and the cloud era reset the speed at which we build, measure, and learn. Then mobile reshaped everything we thought we knew about attention, engagement, and distribution.Now we are standing at the edge of another shift. Not a small shift, but a tectonic one. Artificial intelligence is rewriting the rules of product creation, product discovery, product expectations, and product careers.To help make sense of this moment, I hosted a panel of world class product leaders on the Fireside PM podcast:• Rami Abu-Zahra, Amazon product leader across Kindle, Books, and Prime Video• Todd Beaupre, Product Director at YouTube leading Home and Recommendations• Joe Corkery, CEO and cofounder of Jaide Health • Tom Leung (me), Partner at Palo Alto Foundry• Lauren Nagel, VP Product at Mezmo• David Nydegger, Chief Product Officer at OvivaThese are leaders running massive consumer platforms, high stakes health tech, and fast moving developer tools. The conversation was rich, honest, and filled with specific examples. This post summarizes the discussion, adds my own reflections, and offers a practical guide for early and mid career PMs who want to stay relevant in a world where AI is redefining what great product management looks like.Table of Contents* What AI Cannot Do and Why PM Judgment Still Matters* The New AI Literacy: What PMs Must Know by 2026* Why Building AI Products Speeds Up Some Cycles and Slows Down Others* Whether the PM, Eng, UX Trifecta Still Stands* The Biggest Risks AI Introduces Into Product Development* Actionable Advice for Early and Mid Career PMs* My Takeaways and What Really Matters Going Forward* Closing Thoughts and Coaching Practice1. What AI Cannot Do and Why PM Judgment Still MattersWe opened the panel with a foundational question. As AI becomes more capable every quarter, what is left for humans to do. Where do PMs still add irreplaceable value. It is the question every PM secretly wonders.Todd put it simply: “At the end of the day, you have to make some judgment calls. We are not going to turn that over anytime soon.”This theme came up again and again. AI is phenomenal at synthesizing, drafting, exploring, and narrowing. But it does not have conviction. It does not have lived experience. It does not feel user pain. It does not carry responsibility.Joe from Jaide Health captured it perfectly when he said: “AI cannot feel the pain your users have. It can help meet their goals, but it will not get you that deep understanding.”There is still no replacement for sitting with a frustrated healthcare customer who cannot get their clinical data into your system, or a creator on YouTube who feels the algorithm is punishing their art, or a devops engineer staring at an RCA output that feels 20 percent off.Every PM knows this feeling: the moment when all signals point one way, but your gut tells you the data is incomplete or misleading. This is the craft that AI does not have.Why judgment becomes even more important in an AI worldDavid, who runs product at a regulated health company, said something incredibly important: “Knowing what great looks like becomes more essential, not less. The PM's that thrive in AI are the ones with great product sense.”This is counterintuitive for many. But when the operational work becomes automated, the differentiation shifts toward taste, intuition, sequencing, and prioritization.Lauren asked the million dollar question. “How are we going to train junior PMs if AI is doing the legwork. Who teaches them how to think.”This is a profound point. If AI closes the gap between junior and senior PMs in execution tasks, the difference will emerge almost entirely in judgment. Knowing how to probe user problems. Knowing when a feature is good enough. Knowing which tradeoffs matter. Knowing which flaw is fatal and which is cosmetic.AI is incredible at writing a PRD. AI is terrible at knowing whether the PRD is any good.Which means the future PM becomes more strategic, more intuitive, more customer obsessed, and more willing to make thoughtful bets under uncertainty.2. The New AI Literacy: What PMs Must Know by 2026I asked the panel what AI literacy actually means for PMs. Not the hype. Not the buzzwords. The real work.Instead of giving gimmicky answers, the discussion converged on a clear set of skills that PMs must master.Skill 1: Understanding context engineeringDavid laid this out clearly: “Knowing what LMS are good at and what they are not good at, and knowing how to give them the right context, has become a foundational PM skill.”Most PMs think prompt engineering is about clever phrasing. In reality, the future is about context engineering. Feeding models the right data. Choosing the right constraints. Deciding what to ignore. Curating inputs that shape outputs in reliable ways.Context engineering is to AI product development what Figma was to collaborative design. If you cannot do it, you are not going to be effective.Skill 2: Evals, evals, evalsRami said something that resonated with the entire panel: “Last year was all about prompts. This year is all about evals.”He is right.• How do you build a golden dataset.• How do you evaluate accuracy.• How do you detect drift.• How do you measure hallucination rates.• How do you combine UX evals with model evals.• How do you decide what good looks like.• How do you define safe versus unsafe boundaries.AI evaluation is now a core PM responsibility. Not exclusively. But PMs must understand what engineers are testing for, what failure modes exist, and how to design test sets that reflect the real world.Lauren said her PMs write evals side by side with engineering. That is where the world is going.Skill 3: Knowing when to trust AI output and when to override itTodd noted: “It is one thing to get an answer that sounds good. It is another thing to know if it is actually good.”This is the heart of the role. AI can produce strategic recommendations that look polished, structured, and wise. But the real question is whether they are grounded in reality, aligned with your constraints, and consistent with your product vision.A PM without the ability to tell real insight from confident nonsense will be replaced by someone who can.Skill 4: Understanding the physics of model changesThis one surprised many people, but it was a recurring point.Rami noted: “When you upgrade a model, the outputs can be totally different. The evals start failing. The experience shifts.”PMs must understand:• Models get deprecated• Models drift• Model updates can break well tuned prompts• API pricing has real COGS implications• Latency varies• Context windows vary• Some tasks need agents, some need RAG, some need a small finetuned modelThis is product work now. The PM of 2026 must know these constraints as well as a PM of the cloud era understood database limits or API rate limits.Skill 5: How to construct AI powered prototypes in hours, not weeksIt now takes one afternoon to build something meaningful. Zero code required. Prompt, test, refine. Whether you use Replit, Cursor, Vercel, or sandboxed agents, the speed is shocking.But this makes taste and problem selection even more important. The future PM must be able to quickly validate whether a concept is worth building beyond the demo stage.3. Why Building AI Products Speeds Up Some Cycles and Slows Down OthersThis part of the conversation was fascinating because people expected AI to accelerate everything. The panel had a very different view.Fast: Prototyping and concept validationLauren described how her teams can build working versions of an AI powered Root Cause Analysis feature in days, test it with customers, and get directional feedback immediately.“You can think bigger because the cost of trying things is much lower,” she said.For founders, early PMs, and anyone validating hypotheses, this is liberating. You can test ten ideas in a week. That used to take a quarter.Slow: Productionizing AI featuresThe surprising part is that shipping the V1 of an AI feature is slower than most expect.Joe noted: “You can get prototypes instantly. But turning that into a real product that works reliably is still hard.”Why. Because:• You need evals.• You need monitoring.• You need guardrails.• You need safety reviews.• You need deterministic parts of the workflow.• You need to manage COGS.• You need to design fallbacks.• You need to handle unpredictable inputs.• You need to think about hallucination risk.• You need new UI surfaces for non deterministic outputs.Lauren said bluntly: “Vibe coding is fast. Moving that vibe code to production is still a four month process.”This should be printed on a poster in every AI startup office.Very Slow: Iterating on AI powered featuresAnother counterintuitive point. Many teams ship a great V1 but struggle to improve it significantly afterward.David said their nutrition AI feature launched well but: “We struggled really hard to make it better. Each iteration was easy to try but difficult to improve in a meaningful way.”Why is iteration so difficult.Because model improvements may not translate directly into UX improvements. Users need consistency. Drift creates churn. Small changes in context or prompts can cause large changes in behavior.Teams are learning a hard truth: AI powered features do not behave like typical deterministic product flows. They require new iteration muscles that most orgs do not yet have.4. The PM, Eng, UX Trifecta in the AI EraI asked whether the classic PM, Eng, UX triad is still the right model. The audience was expecting disagreement. The panel was surprisingly aligned.The trifecta is not going anywhereRami put it simply: “We still need experts in all three domains to raise the bar.”Joe added: “AI makes it possible for PMs to do more technical work. But it does not replace engineering. Same for design.”AI blurs the edges of the roles, but it does not collapse them. In fact, each role becomes more valuable because the work becomes more abstract.• PMs focus on judgment, sequencing, evaluation, and customer centric problem framing• Engineers focus on agents, systems, architecture, guardrails, latency, and reliability• Designers focus on dynamic UX, non deterministic UX patterns, and new affordances for AI outputsWhat does changeAI makes the PM-Eng relationship more intense. The backbone of AI features is a combination of model orchestration, evaluation, prompting, and context curation. PMs must be tighter than ever with engineering to design these systems.David noted that his teams focus more on individual talents. Some PMs are great at context engineering. Some designers excel at polishing AI generated layouts. Some engineers are brilliant at prompt chaining. AI reveals strengths quickly.The trifecta remains. The skill distribution within it evolves.5. The Biggest Risks AI Introduces Into Product DevelopmentWhen we asked what scares PMs most about AI, the conversation became blunt and honest. Risk 1: Loss of user trustLauren warned: “If people keep shipping low quality AI features, user trust in AI erodes. And then your good AI product suffers from the skepticism.”This is very real. Many early AI features across industries are low quality, gimmicky, or unreliable. Users quickly learn to distrust these experiences.Which means PMs must resist the pressure to ship before the feature is ready.Risk 2: Skill atrophyTodd shared a story that hit home for many PMs. “Junior folks just want to plug in the prompt and take whatever the AI gives them. That is a recipe for having no job later.”PMs who outsource their thinking to AI will lose their judgment. Judgment cannot be regained easily.This is the silent career killer.Risk 3: Safety hazards in sensitive domainsDavid was direct: “If we have one unsafe output, we have to shut the feature off. We cannot afford even small mistakes.”In healthcare, finance, education, and legal industries, the tolerance for error is near zero. AI must be monitored relentlessly. Human in the loop systems are mandatory. The cycles are slower but the stakes are higher.Risk 4: The high bar for AI compared to humansJoe said something I have thought about for years: “AI is held to a much higher standard than human decision making. Humans make mistakes constantly, but we forgive them. AI makes one mistake and it is unacceptable.”This slows adoption in certain industries and creates unrealistic expectations.Risk 5: Model deprecation and instabilityRami described a real problem AI PMs face: “Models get deprecated faster than they get replaced. The next model is not always GA. Outputs change. Prompts break.”This creates product instability that PMs must anticipate and design around.Risk 6: Differentiation becomes hardI shared this perspective because I see so many early stage startups struggle with it.If your whole product is a wrapper around an LLM, competitors will copy you in a week. The real differentiation will not come from using AI. It will come from how deeply you understand the customer, how you integrate AI with proprietary data, and how you create durable workflows.6. Actionable Advice for Early and Mid Career PMsThis was one of my favorite parts of the panel because the advice was humble, practical, and immediately useful.A. Develop deep user empathy. This will become your biggest differentiator.Lauren said it clearly: “Maintain your empathy. Understand the pain your user really has.”AI makes execution cheap. It makes insight valuable.If you can articulate user pain precisely.If you can differentiate surface friction from underlying need.If you can see around corners.If you can prototype solutions and test them in hours.If you can connect dots between what AI can do and what users need.You will thrive.Tactical steps:• Sit in on customer support calls every week.• Watch 10 user sessions for every feature you own.• Talk to customers until patterns emerge.• Ask “why” five times in every conversation.• Maintain a user pain log and update it constantly.B. Become great at context engineeringThis will matter as much as SQL mattered ten years ago.Action steps:• Practice writing prompts with structured context blocks.• Build a library of prompts that work for your product.• Study how adding, removing, or reordering context changes output.• Learn RAG patterns.• Learn when structured data beats embeddings.• Learn when smaller local models outperform big ones.C. Learn eval frameworksThis is non negotiable.You need to know:• Precision vs recall tradeoffs• How to build golden datasets• How to design scenario based evals for UX• How to test for hallucination• How to monitor drift• How to set quality thresholds• How to build dashboards that reflect real world input distributionsYou do not need to write the code.You do need to define the eval strategy.D. Strengthen your product senseYou cannot outsource product taste.Todd said it best: “Imagine asking AI to generate 20 percent growth for you. It will not tell you what great looks like.”To strengthen your product sense:• Review the best products weekly.• Take screenshots of great UX patterns.• Map user flows from apps you admire.• Break products down into primitives.• Ask yourself why a product decision works.• Predict what great would look like before you design it.The PMs who thrive will be the ones who can recognize magic when they see it.E. Stay curiousRami's closing advice was simple and perfect: “Stay curious. Keep learning. It never gets old.”AI changes monthly. The PM who is excited by new ideas will outperform the PM who clings to old patterns.Practical habits:• Read one AI research paper summary each week.• Follow evaluation and model updates from major vendors.• Build at least one small AI prototype a month.• Join AI PM communities.• Teach juniors what you learn. Nothing accelerates mastery faster.F. Embrace velocity and side projectsTodd said that some of his biggest career breakthroughs came from solving problems on the side.This is more true now than ever.If you have an idea, you can build an MVP over a weekend. If it solves a real problem, someone will notice.G. Stay close to engineeringNot because you need to code, but because AI features require tighter PM engineering collaboration.Learn enough to be dangerous:• How embeddings work• How vector stores behave• What latency tradeoffs exist• How agents chain tasks• How model versioning works• How context limits shape UX• Why some prompts blow up API costsIf you can speak this language, you will earn trust and accelerate cycles.H. Understand the business deeplyJoe's advice was timeless: “Know who pays you and how much they pay. Solve real problems and know the business model.”PMs who understand unit economics, COGS, pricing, and funnel dynamics will stand out.7. Tom's Takeaways and What Really Matters Going ForwardI ended the recording by sharing what I personally believe after moderating this discussion and working closely with a variety of AI teams over the past 2 years.Judgment becomes the most valuable PM skillAs AI gets better at analysis, synthesis, and execution, your value shifts to:• Choosing the right problem• Sequencing decisions• Making 55 45 calls• Understanding user pain• Making tradeoffs• Deciding when good is good enough• Defining success• Communicating vision• Influencing the orgAgents can write specs.LLMs can produce strategies.But only humans can choose the right one and commit.Learning speed becomes a competitive advantageI said this on the panel and I believe it more every month.Because of AI, you now have:• Infinite coaches• Infinite mentors• Infinite experts• Infinite documentation• Infinite learning loopsA PM who learns slowly will not survive the next decade. Curiosity, empathy, and velocity will separate great from goodMany panelists said versions of this. The common pattern was:• Understand users deeply• Combine multiple tools creatively• Move quickly• Learn constantlyThe future rewards generalists with taste, speed, and emotional intelligence.Differentiation requires going beyond wrapper appsThis is one of my biggest concerns for early stage founders. If your entire product is a wrapper around a model, you are vulnerable.Durable value will come from:• Proprietary data• Proprietary workflows• Deep domain insight• Organizational trust• Distribution advantage• Safety and reliability• Integration with existing systemsAI is a component, not a moat.8. Closing ThoughtsHosting this panel made me more optimistic about the future of product management. Not because AI will not change the job. It already has. But because the fundamental craft remains alive.Product management has always been about understanding people, making decisions with incomplete information, telling compelling stories, and guiding teams through ambiguity and being right often.AI accelerates the craft. It amplifies the best PMs and exposes the weak ones. It rewards curiosity, empathy, velocity, and judgment.If you want tailored support on your PM career, leadership journey, or executive path, I offer 1 on 1 career, executive, and product coaching at tomleungcoaching.com.OK team. Let's ship greatness. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit firesidepm.substack.com

This playlist is 65% vinyl friendly. Very poor. Scorchio! ‘1960/1970 Vintage Stereo Design Record Player, in bright orange, the emblematic colour of the 1960 and an example of Mod Ultra Space Age Pop Art Raymond Loewy? France French Designer Museum-worthy‘ says the Etsy seller, adding ‘It has a few cracks, one of the speakers has a small tear in the cloth and may need an overhaul, a full check up to see how and if it works and if it is complete… WE HAVE NEVER TRIED TO USE IT AND I DO NOT KNOW IF IT WORKS OR PLAYS.‘ Thank flip it’s down to €4600, from €7100. Any track marked * has been given either a tiny or a slightly larger 41 Rooms tweak/edit/chop and the occasional tune might sound a bit dodgy, quality-wise. On top of that, the switch between different decades and production values never helps in the mix here. And a bit of a croak in my voice here and there. A temporary glitch, hopefully. Lyric of Playlist 146 Trickery involved but it has to be The Bots! 00.00 (Intro) THE FLAMINGOS – Stars (Edit) – Unreleased demo – 1983. Episode #1 for info. 00.41 NEW ORDER – Ruined In A Day (Reading Festival, 1993) – In Concert – 577, CD – BBC Transcription – 1993 I and my four-year-old, Alice were there, on what was a triumphant return, with the wonderful ‘Ruined’ in amongst new numbers from the band’s then recently released Republic album nobody would have previously heard in a live setting. BBC Transcription Services recordings – produced to service radio stations and usually for a very limited time frame for broadcast – had moved from vinyl to CD but with runs still only in their low hundreds New Order completists would be struggling to own a copy of this one… and I don’t. 04.42 MERIC LONG – A Small Act Of Defiance – Kablooey, LP – Polyvinyl Record Company – 2025 Book-ending a bunch of releases through the years as a member of The Dodos, Kablooey is seemingly Long’s first solo release under his own name since 2006. 07.43 BIOCHEMICAL DREAD – False Kings Of The Earth – 12″ – Pulsolid – 2004 Besides his work with Cabaret Voltaire this 12″ demonstrates there are gaps in my knowledge of Richard H. Kirk’s lengthy discography elsewhere. A copy of ‘False Kings… ‘ however is currently heading my way. RIP, Richard. 13.21 DARKSIDE – One Last Nothing – Download only – Matador – 2025 Including a past member of the 41 Rooms playlist parish, Nicolas Jaar, a US trio currently NOT releasing a 12″, though their Bandcamp visual hints otherwise. 18.32 AGENTS WITH FALSE MEMORIES – Agents With False Memories (extract), CD only – Ash International / Soleilmoon Recordings – 1996 Extract, indeed as Richard H. Kirk promptly returns to show 146 with this four minute snippet from a 53 minute track. 22.34 HUMANIZER – Shinobi – ? – ? – 2000s? Ignoring the slight Liam Gallagher drawl and with zero connection to any Death Metal band of the same name, this might have been Manchester sourced… and maybe with a Peter Hook connection. That’s what I’m vaguely remembering… from over a decade ago. Dunno… A ‘demo’ version, minus vocals, might also get an outing here at some point. 27.08 DIFFERENT GEAR – A Little Bit Paranoid (Extended Mix) * – 12″ – City Rockers – 2002 Courtesy of a ‘Phil Dirtbox’, the vocal is the winner here. 32.59 MERZ – Sorrow In The Sky (Nightingale Vs The Crow) – 7″ b-side – Lotus Records – 2002 The stuff that people sing about… and here with gusto and passion, to boot! 36.55 LUSCIOUS JACKSON – Why Do I Lie? (Sessions at 54th, 11.97) – Stream only – 1997 Vocalist, Jill Cunniff’s tale of lying sounding best live! 40.13 THE POPPY FAMILY – I Was Wondering – 7″ – London – 1971 A bit of a strange arrangement, this one. Albeit with a key change in there – verses with no choruses! Weird and wonderful… and maybe a bit brave in the pop world of the early ’70s, where the only PF track I remember hearing as a young teen was Which Way Are You Going Billy? That won’t be getting a 41 Rooms spin. 42.43 SOPHIE JAMIESON – Camera – I Still Want To Share, LP – Bella Union – 2025 Being over in Brighton recently it seemed appropriate I buy her clear vinyl album from the Bella Union shop and re Camera? It’s the subtle build in Sophie’s vocal and she’ll be here again at some point. 46.59 MARTYN BATES – The Rhyme Of Miracles – Arriving Fire, CD only – Ambivalent Scale – 2014 Martyn instils presence in a tune like few others for me. 50.28 JOSE FELICIANO – First Of May – 7″ b-side – RCA – 1969 ‘Feliciano seems to be on a heavy Bee Gees kick… after ‘Marley Purt Drive,’ he now does ‘First Of May’ and ‘Gotta Get A Message To You.’ And with his highly stylised projection, Jose manages to make them sound totally removed from anything the Gibb brothers originated’. – Disc (edited review of the album, 10 to 23), 15.11.69. As far as I know the Bee Gees tune was only ever released on a 7″ (my ‘format of choice’) for Jose in Mexico, New Zealand, Philippines and Spain and never as an A-side and arranger, Al Capps most probably winced if he ever got to see the NZ pressing below. Strangely, Jose’s very rarely performed the song live. I’ve only noted it three times, including two at London’s Jazz Cafe, in 1996 and again in 1998 and at the former it surfaced nearly under duress. With the audience (maybe unsurprisingly) constantly shouting out for past JF favourites Jose countered, ‘You know there’s a lot of songs you people ask me for that unfortunately… and I’m not being rude, a lot of artists are rude, they do it on purpose, but some of the songs that you ask me to sing, do you know that I haven’t sung them in years and I’ve forgotten the words and rather than make an ass out of myself that’s why I don’t sing them, OK? So, don’t take it personal… I don’t sing those songs anymore. But I’ll tell you what though there’s some that you ask for that I do remember, like this one. I hope that this one will satisfy you.’ That rare sighting was even more surprising considering Jose had taken the rare move of including his own recording of the song when guesting on Brian Matthew’s My Top Twelve for BBC Radio 1 back in June 1974. 54.11 JAPAN – Alien – Quiet Life, LP – Ariola Hansa – 1980 Bedford: Heronscroft, Putnoe, 1980 and Winkles, 1981… with a few Japan gigs thrown in at the time. 58.47 JOHN CALE – Chinese Envoy (M:FANS) – M: FANS, 2 LP – Double Six – 2016 ‘Approached as a reinterpretation of Cale's 1982 improvisational album, Music for a New Society… M:FANS is something of a funhouse mirror reflection of that work, using the basic song-structures of the original album as a starting point and using time, experience and the technological advances of the ensuing years to bring a new focus to the tunes. Some selections are comfortably familiar, while others have a significantly different footprint‘. – KCRW 01.02.32 ICEHOUSE – No Promises (Dance Mix) * – 12″ – Chrysalis – 1990 Fully five years after the track had seemingly done its thing it got an extended outing in Spain. 01.07.58 DAVID BOWIE – This Is Not America (BBC concert) – Bowie At The Beeb, 2CD – EMI – 2000 Part of Bowie’s special set for a small invited audience at the BBC’s Radio Theatre, in London, June 2000. 01.11.29 JOHNNY KEATING – Theme from Z-Cars (Johnny Todd) – 7″ – Piccadilly – 1962 Did I realise the grittier scripts involved here than had been delivered by Jack Warner’s strolling forerunner, Dixon Of Dock Green? Nah, I was five when Z-Cars kicked off but the theme (based on the traditional folk song, Johnny Todd) still brings a fuzzy feel. And Wikipedia will give you the full story on why Everton FC players come out to the tune at home games. 01.13.22 MARC COHN – ‘Walking in Memphis (Mahna Mahna)’ – Stream only – 1990’s? Cohn definitely wouldn’t have seen this coming, as the self proclaiming Mahna Mahna and the Snowths duo upstage him in a short but cheeky mashup (of sorts) I happened on via Youtube a couple of decades ago. I’ll openly admit I was a Muppets fan when they first aired on UK TV back in the mid ’70s and with Statler & Waldorf the stars for me I remember walking my girlfriend of the time, Jill home from work and then running up the hill to my house to record the show. Pre the age of video recorders, at one point there was a stack of ten to twenty AGFA(!!) cassette tapes of the shows in my bedroom. Getting back to Cohn, the fact he’s ‘racing’ a bit here actually adds to the cheeriness and I salute whoever was involved. 01.14.44 BERNARD CRIBBINS – The Hole In The Ground – 7″ – Parlophone – 1962 And like the Z-Cars theme I was five when this was released and I’d have definitely been singing this one in the years close after – and weirdly, although it’s the second tune from ’62 on this show, it’s not the last. 01.16.27 THE BOTS – Fuzzy Math – George W. Bush Greatest Hits, v/artists, CDr only – Spin The World – 2004 I heard this cut and paste work of art somewhere around its ‘release’ and as of 2004… ‘… utilizing the revolutionary Presidential Truth Filter(PTF). The PTF operates like this: All presidential statements are recorded, and made into a huge database. The database is searchable by speech, phrase, keyword, emotional intensity, etc. In parallel, an analysis is made of the historical circumstances of the particular presidency. The question must be asked, what is this man (all men so far…) really all about? What is a defining characteristic of this presidency? The final question which must be addressed by the PTF is, how can we use the assets in the database to concatenate the truth, and make the President speak it? The first attempt was Bushwack, in 1992. This turned into a huge hit before the Presidential election in 1992, though BMI denied that it was ever on the air at all. Through October of that year, stations such as San Francisco’s Live105 were playing it almost hourly. In 1997 Rock The House was a popular download at an early digital music download startup, muzic.com. In 2003 Bushwack2 was released at about the start of the Iraq war. The mood of the song is quite grim, as the truth of those times was interpreted by the PTF. In 2004, the PTF was reprogrammed to emphasize economics and general silliness, and Fuzzy Math was born. We think it’s the best one yet. Judge the results for yourself’. – thebots.net 01.19.26 DREXCIYA – Black Sea – The Journey Home, 12″ EP – Warp – 1995 First heard on either of Colin Faver’s or Colin Dale’s techno shows on KISS FM. Sounds more likely it was the former. 01.24.58 E-DANCER – Heavenly * – 12″ – KMS – 1997 The Inner City (‘Big Fun’) man, Kevin Saunderson with his techno head on. 01.28.51 CHARLES WEBSTER – Your Life * – 12″ – Peacefrog – 2000 Pitched up a bit (‘+3%’ says my file iD) this is a class slice of soulful techno/house. 01.33.11 CHARLOTTE DAY WILSON – Selfish – Download only – Stone Woman Music – 2025 This r&b musician has been around for a decade or so but I wouldn’t have guessed, judging by this slight departure to a ’90s UK garage feel (first half anyway). It suits her. 01.36.48 BENCH – Felice – Bliss, 2LP – Cylinder Recordings – 2000 The fifth appearance on 41 Rooms to date for this pretty much forgotten duo. 01.39.36 BLUE STATES – Your Girl – 12″ EP – Memphis Industries – 1999 First heard on a compilation CD a mate of mine, Sid put together, of fave tracks forwarded by mates of his. Not their own tracks, you understand. 01.43.45 THE MIRACLES – I’ll Try Something New – 7″ – Tamla – 1962 Hellfire! Those breakdown strings mid way are a bit of a jolt! Easy, Smokey! Writer, Robinson’s own version is actually the third to make it to 41 Rooms and his vocal arrangement sounds more like a remake than either Kiki Dee’s ‘straighter’ take or even the Supremes and Temptations stab at the song, when chronologically they both followed this Miracles single. 01.46.14 SMITH & MUDD – Blue River – 2LP – Claremont 56 – 2007 Electronic… downtempo… shuffling… drifting… or maybe flowing. 01.48.38 MERZ – A.M. (Good Morning) * – Single-sided, white label 12″ only – 1995 The second artist to return this show, multi instrumentalist and songwriter, Conrad Merz and his at times very idiosyncratic vocal (‘Many Weathers Apart’, for instance) seem to have trodden their own path through the years. 01.53.45 CRAIG ARMSTRONG (feat ELIZABETH FRASER) – This Love (& The Life That I Have) * – 41 Rooms Soft Mash Up only – Early 2000s I grabbed the extra voice – Virginia McKenna as Second World War spy Violette Szabo, reading the code poem The Life That I Have at the end of the film Carve Her Name With Pride – fully thirty plus years ago and I had a stab at floating it over This Love a long time ago but recently had another go. Aided by Jazz The Glass, we pitched her down slightly and then I took out a chunk of the poem in the second half. Not that it’s going to happen but I reckon it would need the song itself re-arranged/edited to work perfectly but methinks the idea is still a cool one. Show 147 hopefully surfaces Jan 4. Dec x The post Post Punk Plus Podcast Playlist 146 – Original upload 7.12.25 appeared first on 41Rooms.

Au menu de l'actualité : 

Au menu de l'actualité :L'ONU célèbre la Journée mondiale de la lutte contre le sida Le chef des opérations de paix salue les progrès de la République centrafricaine vers un retour à la paixMines antipersonnel : la Princesse Astrid de Belgique souligne l'importance de la Convention d'Ottawa Présentation : Michelle Ghazaryan

In this episode of the CPQ Podcast, Frank Sohn sits down with Suren Reddy, founder of Cloudely, for a deep dive into where Configure-Price-Quote (CPQ) is heading—especially inside the Salesforce ecosystem. If you're evaluating Salesforce CPQ, or wondering what Revenue Cloud Advanced really changes, this conversation is for you. Suren breaks down Salesforce Revenue Cloud Advanced (RCA) and Revenue Cloud Billing (RCB) in practical terms: why Salesforce is positioning them as the next-gen replacement for traditional CPQ, what's new in product, pricing, and catalog architecture, and how quote-to-cash is becoming a single, unified revenue platform. He shares real implementation expectations too—why RCA projects are now trending closer to 4–8 months due to expanded analysis and design, and how that tradeoff can pay off in fewer downstream touchpoints and stronger ROI. The discussion also explores the fast-moving AI layer around CPQ. Suren explains Salesforce's move toward multi-agent workflows through Agentforce, the role of Model Context Protocol (MCP) as an open standard for secure tool/data interaction, and what "Agentforce Vibes" (agentic development) could mean for accelerating CPQ and revenue applications. You'll hear a concrete AI use case he's seeing today: the Margin Optimization Agent, designed to recommend profitable product bundles while improving customer outcomes. Finally, Suren shares what he's hearing from customers about the Conga/PROS acquisition, why many are re-evaluating their CPQ options, and what demand signals he expects to rebound in 2026. Plus, a look at Cloudely's growth in India and emerging verticals like dairy, cement, and textiles. Tune in for a grounded, forward-looking CPQ conversation packed with Salesforce Revenue Cloud insights, AI realism, and customer-driven market perspective. Subscribe to the CPQ Podcast for more interviews on CPQ software, quote-to-cash, pricing, and revenue transformation.

In this episode, we sit down with Hip Hop legend Benzino for a raw and unfiltered conversation. He opens up about his journey, the controversy, and the history behind some of the culture's biggest moments.In this episode we talk about: • Growing up in Boston and how the city shaped him • His role and wild behind-the-scenes stories from The Source Magazine & The Source Awards • If his beef with Eminem is finally over

Barry Greenfield began his musical ride in 1965 when he was just 15 years old. Over the subsequent decades, Barry has become a greatly appreciated, old-school, singer songwriter, with three number one records, twenty-five plus covers, and life as a touring musician and storyteller. He actually walked away from the music business in the mid-70s saying, “it's not for me,” and yet he remained a dedicated songwriter and performer, releasing twelve LP's while sharing his music with audiences everywhere.   Barry's autobiography, My Journey to Blue Sky, was recently published by New Haven Publishing. It covers the intimate details of his professional years, including, standing on the shoulders of various giants that he has known or worked with, like Cher, John Lennon, Larry Carlton, Supertramp, Kenny Rogers, Harry Nilsson, 10cc, and more. Barry's classic album, Blue Sky, released by RCA, has reached its 50th anniversary. And now with his book, Barry reveals the life changing experiences he received while attending the ‘music school' of the real world in those halcyon days of 1963 to 1975. Barry learned everything by listening, watching, and questioning. Please be sure to stick around at the end of the show for a very special treat.  Barry has graciously lent us his powerful hit song, “New York is Closed Tonight.,” which we'll play for everyone to enjoy.  After 9/11, CNN played “New York is Closed Tonight,” juxtaposed to what was happening to the twin towers. 

In this gripping and deeply honest conversation, Shmelke Diamond opens up about his unlikely path—from a traditional Long Island Jewish upbringing to discovering Chabad as a teenager, navigating a lonely and self-taught journey into observance, and ultimately becoming a proud Satmar chasid. Shmelke shares powerful stories of identity, family tension, spiritual searching, and the moment he realized he had to choose between two worlds. He talks about the kindness that drew him into the Satmar community, his struggles with chronic illness, and how disability reshaped his understanding of purpose, humility, and faith. Whether you're religious, secular, curious, or anywhere in between, this episode is a raw and inspiring exploration of what it means to find yourself—and to stand by what you believe, even when the world pushes back. This episode was made possible thanks to our sponsors: ►Blooms Kosher   Bring you the best Kosher products worldwide.   https://bloomskosher.com   ______________________________________ ► Colel Chabad Pushka App - The easiest way to give Tzedaka    https://pushka.cc/meaningful    _______________________________________   ► Banana Blast Rentals   Bringing exciting entertainment for all your occasions. https://bananablasts.com https://wa.link/i4qlgh   _______________________________________   ► Lalechet     We're a team of kosher travel experts, here to carry you off to your dream destination swiftly, safely, and seamlessly in an experience you will forever cherish.    https://www.lalechet.com _______________________________________ ► Town Appliance - Visit the website or message them on WhatsApp     https://www.townappliance.com     https://bit.ly/Townappliance_whatsapp    ______________________________________ ►Rothenberg Law Firm   Personal Injury Law Firm For 50+ years!   Reach out Today for Free Case Evaluation   https://shorturl.at/JFKHH   ____________________________________   ►  Ketubah At Ketubah.com, every Kesubah is designed with care, blending timeless beauty with texts that are fully halachic, including RCA and Sephardic versions. Our team collaborates with rabbanim and mesadrei kiddushin to ensure each document is accurate and accepted without question. Choosing Ketubah.com means you arrive at your chuppah with peace of mind, knowing your Kesubah is both beautifully crafted and halachically sound. https://ketubah.com/meaningful-minutes/?utm_source=Podcast&utm_medium=Clickthrough&utm_campaign=meaningful-people-podcast ____________________________________   ►  Eishet Chayil Eishet Chayil — The Woman of Valor is a new book by Rabbi Yossi Marcus that brings King Solomon's classic poem to life through the stories of 24 remarkable Jewish women — from Sarah and Miriam to Esther and beyond. Drawing on millennia of Jewish scholarship, especially the teachings of the Lubavitcher Rebbe, the book celebrates women of faith, courage, and wisdom. Each verse is paired with contemporary artwork by Israeli artist Lia Baratz, making the book both educational and inspirational for readers of all ages. Dedicated to the women of Nahal Oz who were killed on October 7, 2023, it stands as a tribute to Jewish women of valor throughout history. Already in its second printing, Eishet Chayil is an ideal gift for Bat Mitzvahs, brides, wives, and mothers. Available at https://www.eishetchayil.com and https://store.kehotonline.com/mobile/ Use code MM20 for 20% off when checking out on Kehot.com.   _______________________________________  

In this deeply personal conversation, Mendel Mintz shares his journey of growing up in Crown Heights with a lifelong physical disability, building a life of community impact, and finding unexpected love with his wife, Miriam, a beloved special educator from Baltimore born with dwarfism. He opens up about their dream of building a family through IVF, the joy of being on the brink of shlichus together, and the unimaginable tragedy of losing Miriam to an extremely rare complication at the very height of their lives. Mendel reflects with searing honesty on grief, walking out of the hospital alone, wrestling with faith, and what it means to keep showing up for Hashem with real questions and no easy answers. He also shares how he's turning pain into purpose through Miriam's Library and Learning Center, a new educational hub in Baltimore dedicated to the children and values she lived for.    To honor Miriam's legacy and help bring this life-changing project to reality, you can make a meaningful difference here: https://www.charidy.com/Miriam/mm   This episode is for anyone carrying loss, living with visible or invisible challenges, or searching for a way to transform heartbreak into a life of meaning.   This episode was made possible thanks to our sponsors:   ► Colel Chabad Pushka App - The easiest way to give Tzedaka    https://pushka.cc/meaningful    _______________________________________ ► Banana Blast Rentals   Bringing exciting entertainment for all your occasions.   https://bananablasts.com https://wa.link/i4qlgh   ____________________________________ ► Lalechet     We're a team of kosher travel experts, here to carry you off to your dream destination swiftly, safely, and seamlessly in an experience you will forever cherish.    https://www.lalechet.com ___________________________________________   ►  Ketubah At Ketubah.com, every Kesubah is designed with care, blending timeless beauty with texts that are fully halachic, including RCA and Sephardic versions. Our team collaborates with rabbanim and mesadrei kiddushin to ensure each document is accurate and accepted without question. Choosing Ketubah.com means you arrive at your chuppah with peace of mind, knowing your Kesubah is both beautifully crafted and halachically sound. https://ketubah.com/meaningful-minutes/?utm_source=Podcast&utm_medium=Clickthrough&utm_campaign=meaningful-people-podcast ______________________________________   ► Rothenberg Law Firm   Personal Injury Law Firm For 50+ years!   Reach out Today for Free Case Evaluation   https://shorturl.at/JFKHH   ____________________________________   ► Town Appliance   Visit the website or message them on WhatsApp   https://www.townappliance.com https://bit.ly/Townappliance_whatsapp    ______________________________________   ► Dream Raffle Win a brand new and fully furnished $1,200,000 apartment in Yerushalayim!    Use Promo code MPP for $10 off and to receive double tickets!   https://thedreamraffle.com/  _____________________________________  

Released in 1978 on the Pickwick label, at first glance the budget album "Mahalo from Elvis" could have seemed like any number of other slapdash repackaging of old recordings in the wake of Elvis's death. However "Mahalo" not only represented the first official release of the five post-show songs from "Aloha from Hawaii" filmed for inclusion in the continental US broadcast, but had originally been compiled by RCA's Joan Deary for release in late 1973.  As an album that could have potentially been part of the lifetime canon of Elvis's album releases, has "Mahalo" been overlooked? Eventually certified Gold by the RIAA, many later-generation fans - including Justin - had it in their vinyl collection early on as a formative part of their Elvis musical experience. Bec and Justin decided to revisit the record and see how it holds up. For Song of the Week, Bec takes the baton from Olivia pick last week, highlighting another Don Robertson-penned number, the stunning "There's Always Me" from 1961. Justin, on the other hand, tries really hard not to let the potential for innuendo get out of hand as he digs into what sets Elvis's version of the country weeper "It Ain't No Big Thing (But It's Growing)" apart from numerous others before and after his.  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

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

Bill Dickson in conversation with David Eastaugh  https://rousers.bandcamp.com/album/1979-sire-session Inspired by the New York Dolls, Ramones and such immortal ‘50s rockers as twangy guitar hero Duane Eddy, the Rousers were woefully under-documented in their prime. A few major labels sniffed around, including RCA and Warner Bros. subdi­vision Sire. But no one committed them to vinyl until Reynolds issued their “Party Boy” b/w “Don't Let The Band Stop Playing” 45 (produced by Wayne Kramer of the MC5) via Jimboco in 1981.  Reynolds corrects this oversight today with the release of the demos that the original Rousers lineup—vocalist Jeff Buck­land, rhythm guitarist Bill Dickson, bassist John Hannah, lead guitarist Tom Milmore, and drummer Jerid O'Connell—cut for Sire in the label's basement studio on New York's Upper West Side in 1979.  Tracked to tape under the sharp ear of Ed Stasium, hot off sessions with the Ramones and Talking Heads, the 1979 Sire demos are raw, radiant, and long overdue for release. They captured the Rousers in full dragstrip ignition mode: dueling Gibson guitars plugged into Fender amps for maximum punk twang, hiccupping Elvis/Buddy Holly vocal inflections, and a rhythm section built for backseat makeouts and beer-splashed dance floors.  With nods to Duane Eddy (“Ram Rod,” “Movin' N Groovin'”), the sweat-soaked charm of originals like “Be My Girl” and “Product of the USA,” and a rip-it-up cover of Wilson Pickett's “If You Need Me,” Rousers 1979 Sire Session is the missing chapter of NYC punk's golden age, finally pressed to wax.  Never before released, the tapes sat shelved in the Rock & Roll Hall of Fame's Sire archives for decades, digitized and re­stored in 2024. Mixing duties were split between Bob Stander (Parchessi Studio) and Ed Stasium himself, ensuring pe­riod-authentic crunch meets modern punch. The result is 13 tracks of grease-slicked melody and garage-pop swing, crowned by the kinetic rave-up “Bumblebee Rock” and the shoulda-been-hits “Lonely Summer” and “Be My Girl”—a song that splits the difference between Tommy James stomp and Marshall Crenshaw shimmer.

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Scorpio Gold Corporation provided a comprehensive update on its 100%-owned **Manhattan District** in Nevada, where 19 high-potential exploration targets have now been outlined. Capitan Silver Corp. reported strong results from six new holes at its **Cruz de Plata** silver-gold project in Durango, Mexico, confirming the emergence of a new high-grade zone at Jesus Maria. 1911 Gold Corporation reported strong new drill results from the **True North Gold Project** in Manitoba, confirming high-grade gold mineralization at the **San Antonio West** target to depths of 630 meters. Marimaca Copper Corp. announced it has received formal environmental approval (RCA) for its Marimaca Oxide Project in Chile's Antofagasta region—marking a key milestone toward construction readiness.This episode of Mining Stock Daily is brought to you by… Vizsla SilverVizsla Silver is focused on becoming one of the world's largest single-asset silver producers through the exploration and development of the 100% owned Panuco-Copala silver-gold district in Sinaloa, Mexico. The company consolidated this historic district in 2019 and has now completed over 375,000 meters of drilling. The company has the world's largest, undeveloped high-grade silver resource. Learn more at ⁠https://vizslasilvercorp.com/⁠

On Sunday, November 9th, 75 Jewish educators, rabbis, lay-leaders, and thought leaders gathered for the second Tradition Today Summit, convened together with Yeshiva University's Azrieli Graduate School of Jewish Education and TRADITION's publisher, the Rabbinical Council of America, on “Educating Our Children to Be Ovdei Hashem in a Modern World: Challenges and Opportunities.” Together we considered what we can do as a community to educate the next generation of committed Ovdei Hashem? How can students be guided to engage deeply with Jewish life and learning while navigating the challenges of a rapidly changing world? Questions such as these define the landscape of contemporary Jewish education. This second Tradition Today Summit explored how we confront these issues in different contexts: from the New York area to so-called “out-of-town” communities; from American gap-year programs in Israel to local schools and synagogues. Classical Jewish sources, Hasidic thought, and ideas from general educational teachings provide valuable perspectives for addressing these concerns. Central issues to be considered include the role of technology in the classroom and students' lives more broadly, strategies for supporting different types of students, and models for fostering genuine spirituality. The discussion will highlight the range of approaches within Modern Orthodoxy and the broader challenges facing Jewish education today. View the program schedule. The conference proceedings will appear in an upcoming special issue of TRADITION. Listen to the opening remarks of the assembly with Rabbi Jeffrey Saks (Editor of TRADITION), Rabbi Etan Tokayer (President, RCA), and Rabbi Dr. Ari Berman (President, Yeshiva University).The post Tradition Today Summit first appeared on Tradition Online.

In this extraordinary episode, Nachi Gordon sits down with Glenn Cohen — former chief psychologist of the Mossad, helicopter pilot, and trauma expert — for one of the most riveting conversations ever featured on Meaningful People. From rescuing soldiers in Lebanon to counseling hostages freed after October 7th, Glenn has witnessed the darkest sides of humanity — and the boundless strength of the human spirit. He shares powerful firsthand accounts from meeting newly released hostages, insights into Mossad's secret world, and the psychology of resilience that enables ordinary people to do the impossible. With candor and compassion, Glenn reveals how people survive the unimaginable — not by avoiding pain, but by growing from it. He explains the concept of post-traumatic growth, the coping tools that saved lives in captivity, and why he believes every person is capable of far more than they think. This is not just a story about Israel, trauma, or espionage — it's a masterclass in faith, courage, and the strength embedded in the Jewish soul. You can find more information at: www.glenn-cohen.com     This episode was made possible thanks to our sponsors: ►Blooms Kosher   Bring you the best Kosher products worldwide.   https://bloomskosher.com   ______________________________________ ► Colel Chabad Pushka App - The easiest way to give Tzedaka    https://pushka.cc/meaningful    _______________________________________ ►Rothenberg Law Firm   Personal Injury Law Firm For 50+ years!   Reach out Today for Free Case Evaluation   https://shorturl.at/JFKHH   ____________________________________ ► Rentals of Distinction Looking for the perfect rental in Yerushalayim? Rentals of Distinctions is a company that cares and who you can trust.  www.Rentalsofdistinction.com  ____________________________________ ► Dream Raffle Win a brand new and fully furnished $1,200,000 apartment in Yerushalayim!    Use Promo code MPP for $10 off and to receive double tickets!   https://thedreamraffle.com/  _____________________________________ ► Lalechet     We're a team of kosher travel experts, here to carry you off to your dream destination swiftly, safely, and seamlessly in an experience you will forever cherish.    https://www.lalechet.com ___________________________________________ ► Town Appliance - Visit the website or message them on WhatsApp     https://www.townappliance.com     https://bit.ly/Townappliance_whatsapp    ______________________________________ ______________________________________ ►  Ketubah At Ketubah.com, every Kesubah is designed with care, blending timeless beauty with texts that are fully halachic, including RCA and Sephardic versions. Our team collaborates with rabbanim and mesadrei kiddushin to ensure each document is accurate and accepted without question. Choosing Ketubah.com means you arrive at your chuppah with peace of mind, knowing your Kesubah is both beautifully crafted and halachically sound. https://ketubah.com/meaningful-minutes/?utm_source=Podcast&utm_medium=Clickthrough&utm_campaign=meaningful-people-podcast ______________________________________

Send us a textBob Catania, former National Director for RCA and Island records, innovator and co-owner of whatsin-storemusic.com, talks to us about how he went from college radio and the mail room to the big leagues, and having the time of his life working in the music business and creating a new kind of launchpad for new music, whatsin-storemusic.com.

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The Miracle After the Darkness – Michal Weinstein's Unbelievable Story When Michal Weinstein was just ten years old, her father — a respected diamond dealer and Israeli diplomat — vanished without a trace. For nearly two decades, her family lived in painful uncertainty, surrounded by rumors, fear, and unanswered questions. In this gripping episode, Michal opens up to Nachi Gordon about the shocking twists that followed: corruption at the highest levels, a decades-long mystery, and an unimaginable discovery that finally brought truth and closure 19 years later. From her childhood in Far Rockaway and the day her father disappeared, to the miraculous moment his body was found and the profound faith that carried her through it all — Michal's story is one of resilience, justice, and divine providence. This isn't just a true crime story — it's a testament to faith, family, and the power of never giving up hope. This episode was made possible thanks to our sponsors: ►Blooms Kosher   Bring you the best Kosher products worldwide.   https://bloomskosher.com   ______________________________________ ► Colel Chabad Pushka App - The easiest way to give Tzedaka    https://pushka.cc/meaningful    _______________________________________ ►Rothenberg Law Firm   Personal Injury Law Firm For 50+ years!   Reach out Today for Free Case Evaluation   https://shorturl.at/JFKHH   ____________________________________ ► Rentals of Distinction Looking for the perfect rental in Yerushalayim? Rentals of Distinctions is a company that cares and who you can trust.  www.Rentalsofdistinction.com  ____________________________________ ► Dream Raffle Win a brand new and fully furnished $1,200,000 apartment in Yerushalayim!    Use Promo code MPP for $10 off and to receive double tickets!   https://thedreamraffle.com/  _____________________________________ ► Lalechet     We're a team of kosher travel experts, here to carry you off to your dream destination swiftly, safely, and seamlessly in an experience you will forever cherish.    https://www.lalechet.com ___________________________________________ ► Town Appliance - Visit the website or message them on WhatsApp     https://www.townappliance.com     https://bit.ly/Townappliance_whatsapp    ______________________________________ ______________________________________ ►  Ketubah At Ketubah.com, every Kesubah is designed with care, blending timeless beauty with texts that are fully halachic, including RCA and Sephardic versions. Our team collaborates with rabbanim and mesadrei kiddushin to ensure each document is accurate and accepted without question. Choosing Ketubah.com means you arrive at your chuppah with peace of mind, knowing your Kesubah is both beautifully crafted and halachically sound. https://ketubah.com/meaningful-minutes/?utm_source=Podcast&utm_medium=Clickthrough&utm_campaign=meaningful-people-podcast ______________________________________ ►  Eishet Chayil Eishet Chayil — The Woman of Valor is a new book by Rabbi Yossi Marcus that brings King Solomon's classic poem to life through the stories of 24 remarkable Jewish women — from Sarah and Miriam to Esther and beyond. Drawing on millennia of Jewish scholarship, especially the teachings of the Lubavitcher Rebbe, the book celebrates women of faith, courage, and wisdom. Each verse is paired with contemporary artwork by Israeli artist Lia Baratz, making the book both educational and inspirational for readers of all ages. Dedicated to the women of Nahal Oz who were killed on October 7, 2023, it stands as a tribute to Jewish women of valor throughout history. Already in its second printing, Eishet Chayil is an ideal gift for Bat Mitzvahs, brides, wives, and mothers. Available at https://www.eishetchayil.com and https://store.kehotonline.com/mobile/ Use code MM20 for 20% off when checking out on Kehot.com.

Episode 315 features Andre Ceballos of Screamin' Eagle BBQ and Jeffrey Orens, author of Selling Baseball: How Superstars George Wright and Albert Spalding Impacted Sports In America Andre Ceballos is a member of the veteran-based barbecue team, Screamin' Eagle BBQ.  The team has four members: Andre (founder and USMC combat veteran), Clint (Army combat veteran), Shane, and Josh.  They compete in SCA and RCA events, along with multiple local events and charity drives. They hope to change the face of barbecue with a few goals, bring people together, make people smile, bring men's mental health issues forward, have fun, and most importantly put family first. Jeffrey Orens is an author who is a member of the Society for American Baseball research.  His work has appeared in History Magazine and True West Magazine.  His newest book is Selling Baseball:  How Superstars George Wright and Albert Spalding Impacted Sports In America.  The book explores the nineteenth century which was a time of rapid growth and development for the game of “base ball,” and players George Wright and Albert Spalding were right in the thick of it. They were the first superstars of the professional game as they won the hearts of a country in search of a unifying spirit after a devastating civil war. Their captivating performances on the field, along with their promotion of the game and of sports equipment helped grow professional baseball to unprecedented heights We recommend you go to Rogue Cookers website, https://roguecookers.com/ for award-winning rubs, Baseball BBQ, https://baseballbbq.com for special grilling tools and accessories, Magnechef https://magnechef.com/ for excellent and unique barbecue gloves, Cutting Edge Firewood High Quality Kiln Dried Firewood - Cutting Edge Firewood in Atlanta for high quality firewood and cooking wood, Mantis BBQ, https://mantisbbq.com/ to purchase their outstanding sauces with a portion of the proceeds being donated to the Kidney Project, and for exceptional sauces, Elda's Kitchen https://eldaskitchen.com/ We conclude the show with the song, Baseball Always Brings You Home from the musician, Dave Dresser and the poet, Shel Krakofsky. We truly appreciate our listeners and hope that all of you are staying safe. If you would like to contact the show, we would love to hear from you. Call the show:  (516) 855-8214 Email:  baseballandbbq@gmail.com Twitter:  @baseballandbbq Instagram:  baseballandbarbecue YouTube:  baseball and bbq Website:  https//baseballandbbq.weebly.com Facebook:  baseball and bbq   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hosts Jim DeRogatis and Greg Kot follow up a recent episode paying tribute to the sun with another set of songs about a celestial body. This time, they share their favorite songs about the moon — along with picks from the production staff.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Beatles, "Mr. Moonlight," Beatles for Sale, Parlophone, 1964The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Wire, "A Mutual Friend," 154, Harvest, 1979R.E.M., "Nightswimming," Automatic For The People, Warner Bros, 1992Songs:Ohia, "Blue Chicago Moon," Didn't It Rain, Secretly Canadian, 2002Credence Clearwater Revival, "Bad Moon Rising," Green River, Fantasy, 1969Janelle Monáe, "Many Moons," Metropolis: Suite I (The Chase), Bad Boy, 2007Brian Eno, "St. Elmo's Fire," Another Green World, Island, 1975Tom Petty and the Heartbreakers, "Luna," Tom Petty and the Heartbreakers, Shelter, 1976Mitski, "My Love Mine All Mine," The Land Is Inhospitable and So Are We, Dead Oceans, 2023David Bowie, "Moonage Daydream," The Rise and Fall of Ziggy Stardust and the Spiders from Mars, RCA, 1972Thin Lizzy, "Dancing in the Moonlight - Live," Live and Dangerous', Philips, 1978Los Lobos, "Kiko and the Lavendar Moon," Kiko, Slash, 1992The Rolling Stones, "Child of the Moon," Jumpin' Jack Flash / Child Of The Moon (Single), Decca, 1968Nick Drake, "Pink Moon," Pink Moon, Island, 1972Willie Nelson, "Darkness on the Face of the Earth," ...And Then I Wrote, Liberty, 1962Emmylou Harris, "Luxury Liner," Luxury Liner (Expanded & Remastered), Reprise, 2003Emmylou Harris, "Crescent City," Cowgirl's Prayer, The Grapevine, 1994SOFT PLAY, "Punk's Dead," HEAVY JELLY, BMG, 2024The Beach Boys, "Surf's Up," Surf's Up, Reprise, 1971The Cars, "Drive," Heartbeat City, Elektra, 1984See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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Au menu de l'actualité :Un traité historique contre la cybercriminalité signé au VietnamLe chef de l'ONU exhorte le Conseil de sécurité à se réformerEn RCA, l'ONU soutient l'autonomisation politique des femmes Présentation : Michelle Ghazaryan

In this Meaningful People episode, financial advisor Moshe Alpert and community advocate Shmuly Hartstein unpack why many frum “middle‑class” families earning $200–300K still feel underwater—tuition that rivals a salary, yom tov and camp costs, seminary and simcha expectations, and the quiet creep of credit‑card debt. They debate income‑based tuition and communal funding versus personal responsibility, and share practical moves: make a real plan, build a budget, ask for a raise or start a side hustle, prioritize local schools in tzedakah, consider lower‑cost simchas or out‑of‑town living, and protect your family with insurance and a will. A candid, solutions‑oriented conversation about money, values, and making frum life sustainable. Moshe Alpert is a Financial Advisor at Ceremian Financial and author of the book ‘Frum Financial Planning: The Easy-to-Read Money Guide for the Orthodox Jewish Community'. https://a.co/d/hsRZrEe and Ceremian.com    Shmuel Hartstein is the founder of Bsefer Chayim, an organization that promotes signing up for Life Insurance in our community. https://www.bseferchayim.org/  This episode was made possible thanks to our sponsors: ►Blooms Kosher   Bring you the best Kosher products worldwide.   https://bloomskosher.com   ______________________________________ ► Colel Chabad Pushka App - The easiest way to give Tzedaka    https://pushka.cc/meaningful    _______________________________________ ► Dream Raffle Win a brand new and fully furnished $1,200,000 apartment in Yerushalayim!    Use Promo code MPP for $10 off and to receive double tickets!   https://thedreamraffle.com/  _____________________________________ ► Lalechet     We're a team of kosher travel experts, here to carry you off to your dream destination swiftly, safely, and seamlessly in an experience you will forever cherish.    https://www.lalechet.com ___________________________________________ ► Town Appliance - Visit the website or message them on WhatsApp     https://www.townappliance.com     https://bit.ly/Townappliance_whatsapp    ______________________________________ ► Touro   Lander College for Men/Beis Medrash L'Talmud offers a unique blend of rigorous Torah study and strong academics, providing students with both spiritual growth and professional preparation. With devoted rebbeim, supportive faculty, and access to Touro's graduate and professional programs, students can pursue over 20 majors and pre-professional tracks — including medicine, law, business, and technology — while maintaining their Jewish values. Highlights include the Medical Honors Pathway with New York Medical College, personalized support services, and an exceptional record of graduate school acceptances. Prospective students are invited to attend the Open House on November 9 to learn more. Visit http://www.lcm.touro.edu/openhouse    ______________________________________ ►  Ketubah - Free Shipping with Code MPP25! At Ketubah.com, every Kesubah is designed with care, blending timeless beauty with texts that are fully halachic, including RCA and Sephardic versions. Our team collaborates with rabbanim and mesadrei kiddushin to ensure each document is accurate and accepted without question. Choosing Ketubah.com means you arrive at your chuppah with peace of mind, knowing your Kesubah is both beautifully crafted and halachically sound. Use code MPP25 for free shipping! https://ketubah.com/meaningful-minutes/?utm_source=Podcast&utm_medium=Clickthrough&utm_campaign=meaningful-people-podcast ______________________________________ ►  Eishet Chayil Eishet Chayil — The Woman of Valor is a new book by Rabbi Yossi Marcus that brings King Solomon's classic poem to life through the stories of 24 remarkable Jewish women — from Sarah and Miriam to Esther and beyond. Drawing on millennia of Jewish scholarship, especially the teachings of the Lubavitcher Rebbe, the book celebrates women of faith, courage, and wisdom. Each verse is paired with contemporary artwork by Israeli artist Lia Baratz, making the book both educational and inspirational for readers of all ages. Dedicated to the women of Nahal Oz who were killed on October 7, 2023, it stands as a tribute to Jewish women of valor throughout history. Already in its second printing, Eishet Chayil is an ideal gift for Bat Mitzvahs, brides, wives, and mothers. Available at https://www.eishetchayil.com and https://store.kehotonline.com/mobile/ Use code MM20 for 20% off when checking out on Kehot.com.

On October 14th, singer, songwriter and multi-instrumentalist D'Angelo died at the age of 51. Throughout his too short life, he made three unforgettable albums and cemented his legacy as one of the great artists of his time. Hosts Jim DeRogatis and Greg Kot pay tribute to D'Angelo by talking about his life, career and musical impact. They'll also revisit their classic album dissection of D'Angelo's masterpiece, Voodoo.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:D'Angelo, "Untitled (How Does It Feel)," Voodoo, Virgin, 2000The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967D'Angelo, "Brown Sugar," Brown Sugar, EMI, 1995D'Angelo, "Playa Playa," Voodoo, Virgin, 2000D'Angelo, "Chicken Grease," Voodoo, Virgin, 2000D'Angelo, "Devil's Pie," Voodoo, Virgin, 2000D'Angelo, "One Mo'gin," Voodoo, Virgin, 2000D'Angelo, "Africa," Voodoo, Virgin, 2000D'Angelo, "The Root," Voodoo, Virgin, 2000D'Angelo, "Send It On," Voodoo, Virgin, 2000D'Angelo, "Feel like Makin' Love," Voodoo, Virgin, 2000D'Angelo and the Vanguard, "Sugah Daddy," Black Messiah, RCA, 2014D'Angelo and the Vanguard, "The Charade," Black Messiah, RCA, 2014D'Angelo and the Vanguard, "1000 Deaths," Black Messiah, RCA, 2014David Bowie, "Moonage Daydream," The Rise and Fall of Ziggy Stardust and the Spiders from Mars, RCA, 1972See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Label: RCA 0368Year: 1970Condition: M-Price: $16.00This beautiful tune was Michael Nesmith's biggest post-Monkees hit, and one of my favorite songs of all time! :-) Note: This release is credited to "Michael Nesmith & the First National Band." Comes with a vintage RCA factory sleeve.

Au menu de l'actualité :Les opérations de paix face à des coupes budgétaires drastiquesRépublique centrafricaine : lutter contre les discours de haineRDC : l'épidémie d'Ebola dans le Kasaï est bientôt finie Présentation : Jérôme Bernard

In this heartfelt and eye-opening conversation, veteran shadchan Adina Reich traces the evolution of the shidduch system — from handwritten index cards to WhatsApp chats — and reflects on the hopes, heartbreak, and faith that define it. She opens up about the challenges singles and parents face, the emotional toll on shadchanim, and her groundbreaking new initiative, The Shidduch Lounge, designed to bring back organic, Torah-centered connections. With humor, honesty, and compassion, Adina offers both an insider's view of the shidduch world and a vision for how it can heal. This episode was made possible thanks to our sponsors: ►Blooms Kosher   Bring you the best Kosher products worldwide.   https://bloomskosher.com   ______________________________________ ► Colel Chabad Pushka App - The easiest way to give Tzedaka    https://pushka.cc/meaningful    _______________________________________ ► Dream Raffle Win a brand new and fully furnished $1,200,000 apartment in Yerushalayim!    Use Promo code MPP for $10 off and to receive double tickets!   https://thedreamraffle.com/  _____________________________________ ► Lalechet     We're a team of kosher travel experts, here to carry you off to your dream destination swiftly, safely, and seamlessly in an experience you will forever cherish.    https://www.lalechet.com ___________________________________________ ► Town Appliance - Visit the website or message them on WhatsApp     https://www.townappliance.com     https://bit.ly/Townappliance_whatsapp    ______________________________________ ► Touro   Lander College for Men/Beis Medrash L'Talmud offers a unique blend of rigorous Torah study and strong academics, providing students with both spiritual growth and professional preparation. With devoted rebbeim, supportive faculty, and access to Touro's graduate and professional programs, students can pursue over 20 majors and pre-professional tracks — including medicine, law, business, and technology — while maintaining their Jewish values. Highlights include the Medical Honors Pathway with New York Medical College, personalized support services, and an exceptional record of graduate school acceptances. Prospective students are invited to attend the Open House on November 9 to learn more. Visit http://www.lcm.touro.edu/openhouse    ______________________________________ ►  Ketubah At Ketubah.com, every Kesubah is designed with care, blending timeless beauty with texts that are fully halachic, including RCA and Sephardic versions. Our team collaborates with rabbanim and mesadrei kiddushin to ensure each document is accurate and accepted without question. Choosing Ketubah.com means you arrive at your chuppah with peace of mind, knowing your Kesubah is both beautifully crafted and halachically sound. https://ketubah.com/meaningful-minutes/?utm_source=Podcast&utm_medium=Clickthrough&utm_campaign=meaningful-people-podcast ______________________________________ ►  Eishet Chayil Eishet Chayil — The Woman of Valor is a new book by Rabbi Yossi Marcus that brings King Solomon's classic poem to life through the stories of 24 remarkable Jewish women — from Sarah and Miriam to Esther and beyond. Drawing on millennia of Jewish scholarship, especially the teachings of the Lubavitcher Rebbe, the book celebrates women of faith, courage, and wisdom. Each verse is paired with contemporary artwork by Israeli artist Lia Baratz, making the book both educational and inspirational for readers of all ages. Dedicated to the women of Nahal Oz who were killed on October 7, 2023, it stands as a tribute to Jewish women of valor throughout history. Already in its second printing, Eishet Chayil is an ideal gift for Bat Mitzvahs, brides, wives, and mothers. Available at https://www.eishetchayil.com and https://store.kehotonline.com/mobile/ Use code MM20 for 20% off when checking out on Kehot.com.  

Here's the Supporter-only Q&A from October 15th, 2025. All comments and questions are fielded through the supporter service Q&A page. Please consider supporting this channel via monthly support services, tips, or even just by using our affiliate links to purchase things you were already going to buy anyway, at no extra cost to you: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.retrorgb.com/support.html⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T-Shirts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://retrorgb.link/tshirts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon Recommended List: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://retrorgb.link/amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TIMESTAMPS (please assume all links are affiliate / paid links that pay RetroRGB a commission on each sale.  Even if links are currently not affiliate, I may update them with one, should a partner list that item for sale in the future):00:00  Welcome!00:17  Stack on top of PVM?  HDMI DAC?04:55  RGB text over video signal?07:49  Extron HDMI switches10:18  Cheap Amazon 5x1 HDMI switch?12:05  Safe power strips?14:58  16x1 HDMI?:  https://amzn.to/4hcGgoU16:42  RetroRGB website issues17:37  DW got a PVM 20N6U18:07  Kanto's or other magnetically shielded speakers?:  https://www.retrorgb.com/kanto-ora-4-magnetically-shielded-speakers.html21:18  Best MSU-1 Soundtracks?:  https://www.retrorgb.com/interview-with-jammin-sam.html24:46  RCA to BNC for HD Retrovision on PVM:  https://amzn.to/4nRJJMb27:05  Thank You!  https://www.retrorgb.com/support.html

Matt Schonfeld is a Creative Producer, Marketing Strategist, Artist Manager, Brand Builder, Photographer, Director, and the founder of Not 97.Not 97 is an independent music discovery platform that has partnered with Noah, Only NY, worked with music labels such as Def Jam and RCA, and featured artists such as SiR and our recent favorite artist, Halima.Manager for Cleo Reed.The podcast where your favorite artist finds their favorite artist.Please welcome Matt Schonfeld to Wear Many Hats.instagram.com/_not97⁠instagram.com/mbschonze⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/wearmanyhatswmh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/rashadrastam⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rashadrastam.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠wearmanyhats.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

On the October 17 edition of the Music History Today podcast, an earthquake postpones the start of a band, RCA is founded, & Lynyrd Skynyrd releases its last album with Ronnie Van Zandt. Plus, it's Eminem's birthday.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/musichistorytoday

Au menu de l'actualité : Journée mondiale de l'alimentation

Innovation comes in many areas, and compliance professionals need to be ready for it and embrace it. Join Tom Fox, the Voice of Compliance, as he visits with top innovative minds, thinkers, and creators in the award-winning Innovation in Compliance podcast. In this episode,  host Tom Fox welcomes back Gina Cotner, the CEO and founder of Athena Executive Services, to delve into crucial leadership topics relevant to the compliance community. The discussion covers root cause analysis (RCA), the importance of creating a culture of accountability, and effective delegation without abdicating responsibility. Gina emphasizes the significance of asking open-ended, curious questions, continuous coaching, and managing up for sustained organizational success. They also touch on the role of trust, psychological safety, and clear communication in enhancing team performance and leadership practices, making it a must-listen for compliance officers and corporate leaders. Key highlights: The Importance of Root Cause Analysis Creating a Culture of Accountability Effective Delegation Strategies Trust, Psychological Safety, and Communication Applying Strategies in Different Contexts Sustainable Leadership Practices Resources: Gina Cotner on LinkedIn Athena Executive Services Tom Fox Instagram Facebook YouTube Twitter LinkedIn LinkedIn Check out my latest book, Upping Your Game-How Compliance and Risk Management Move to 2023 and Beyond, available from Amazon.com. Innovation in Compliance was recently honored as the number 4 podcast in Risk Management by 1,000,000 Podcasts.

Headed to Dreamforce (Oct 14–16)? In 30 minutes, Salesforce's David Beebe breaks down: RCA now: 6 releases, faster UX, upgraded constraint builder Revenue Cloud Billing: what's new + why demand is spiking Unified CPQ + Billing: fewer errors, faster cycle time Pricing & AI/Agents: usage-based, analytics, interoperability Sessions to add: RC Keynote, Consumption Models, Invoice-to-Cash Listen Oct 12 to plan your week!

Today we'll be talking about four people drowning as flooding worsens in Ayutthaya, a dramatic fire engulfing a major restaurant in Bangkok's RCA entertainment district, and a little later, an Iranian man busted for posing as police to extort Indian tourists in Pattaya.

Decode The Left with Karlyn Borysenko is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.On this week's Socialism Saturday I decided to go straight to the source — the Revolutionary Communists of America, or RCA — and watch one of their new recruitment videos. This is the group behind those Karl Marx “Are You a Communist?” stickers with the QR codes you see plastered all over college campuses. I've seen them myself. If you scan the code, it takes you to a form that plugs you right into their recruiting network.They claim that since the semester began, 2,500 new people have signed up to join — that's just in the last month. Think about that: 2,500 new communists in thirty days, and they're in at least 30 organized cities with members in every state. They're focusing on campuses, pride events, and even queer bookstores — I actually stole one of their posters when I was undercover in New York. They're not shy. They wave hammer-and-sickle flags, hand out newspapers, and run weekend “Marxist schools” where people literally pay hundreds of dollars to learn revolutionary theory.One thing that really stood out: these are old-school Marxists, not the “queer Marxism” you see in progressive spaces. They explicitly reject identity politics — to them, that's liberal manipulation. They see capitalism itself as the root of all oppression and want to abolish identity categories altogether. That's what separates them from Democrats and the modern left — they view liberals and progressives as part of the problem, not allies.They also explained exactly how they're funded — no Soros, no NGOs, no CCP. They're completely self-funded through dues and event tickets. Every member pays one day's wage per month, and that's how they sustain themselves. That's critical to understand because it means there's no “head of the snake” to cut off. They're building a bottom-up revolutionary network.During the stream, I walked through clips from their organizers in Dallas, Chicago, and Minneapolis talking about recruitment. They're tabling three days a week, postering campuses, and holding events like “Why You Should Be a Communist.” These aren't kids playing pretend — they're disciplined, methodical, and openly discussing how to build a vanguard party ready for revolution.And I'll be honest — I said it flat out on air — I think they're going to win. Maybe not next year, but in the next decade or two, if things keep trending this way. Because the right isn't even paying attention. Trump's people aren't paying attention. These groups are organizing openly, growing every month, and nobody's doing a damn thing to counter it.That's why I do Decode the Left and Socialism Saturday. We listen to their real words, their real strategies, not filtered through conservative media spin. If you want to understand what's actually happening — not just what Fox News says — you have to go straight to the source.Decode The Left with Karlyn Borysenko is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit karlyn.substack.com/subscribe

TCW Podcast Episode 243 - RCA Studio II   The RCA Studio II emerged from the company's faltering computer division and the vision of engineer Joseph Weisbecker, who had long dreamed of personal computing after reading "Giant Brains or Machines That Think". He developed FRED at home, a TTL-based hobby computer. A later iteration using the COSMAC microprocessor inspired his daughter Joyce, who went onto program Studio II games, and RCA's forays into coin-op experiments like the Fredotronic. With the development of the CMOS-based COSMAC chip, RCA built trainers like the MicroTutor and kits like the COSMAC ELF, but the Studio II became their entry into the console market. Innovative in concept but hampered by primitive graphics, the system faced FCC challenges delaying release. The console launched in 1977 against the Channel F and Atari VCS, it struggled to find success, though its technology lived on in Taiwan and European licensed systems. Much of its history was later uncovered by researcher Kevin Bunch, which saved the Studio II from being just a footnote in video game history.   Mechanical Televisions: https://www.youtube.com/watch?v=v5OANXk-6-w 32 Line Mechanical TCV Popeye: https://www.youtube.com/watch?v=ozpBDOBXiPs TCW 096 - Hello Big Blue: https://podcast.theycreateworlds.com/e/hello-big-blue/ TCW 026 - The Magnavox Odyssey: https://podcast.theycreateworlds.com/e/the-magnavox-odyssey/ RCA Spectra 70: https://d1yx3ys82bpsa0.cloudfront.net/brochures/rca.spectra70.1965.102646099.pdf Project Gutenberg - Giant Brains or Machines That Think: https://www.gutenberg.org/cache/epub/68991/pg68991-images.html Radio Electronics - Simon Computer: https://vintagecomputer.net/simon.cfm Think-a-Dot: https://en.wikipedia.org/wiki/Think-a-Dot RCA System 00 and FRED: https://www.retrotechnology.com/memship/cosmac_system_00.html Fredotronic: https://thehistoryofhowweplay.wordpress.com/2021/10/13/home-to-the-arcade-a-perfect-translation/ RCA MicroTutor: https://www.youtube.com/watch?v=uCXQZY8XCK8 Popular Electronics - COSNAC ELF: https://archive.org/details/197608PopularElectronics_20181123 Popular Electronics - COSMAC ELF (Condensed): https://archive.org/details/popular-electronics-cosmac-elf/page/n15/mode/2up Building a COSMAC ELF: https://www.youtube.com/watch?v=npvkHmTo_1U COSMAC VIP: https://www.youtube.com/watch?v=LDnufgeONYg (Atari Archive has examples of all games and many of the things we talk about!) Atari Archive - EP01 - The Story of RcA FRED and the Studio II: https://www.youtube.com/watch?v=o35y6W9hI-o Atari Archive - EP02 - The History of RCA's Commercial Games: https://www.youtube.com/watch?v=UXIoi1QAcoY RCA Studio II: http://videogamekraken.com/rca-studio-ii RCA Studio II Console Tour & Gameplay: https://www.youtube.com/watch?v=vJkedjfK4aQ M-1200 (RCA Studio III): https://www.youtube.com/watch?v=NstUUSIwUwY Star Wars (Studio II): https://www.youtube.com/watch?v=-FYKkCkNZOY Pinball (MPT-02 - Studio III): https://www.youtube.com/watch?v=4b3LO41z7ks     New episodes are on the 1st and 15th of every month!   TCW Email: feedback@theycreateworlds.com  Twitter: @tcwpodcast Patreon: https://www.patreon.com/theycreateworlds Alex's Video Game History Blog: http://videogamehistorian.wordpress.com Alex's book, published Dec 2019, is available at CRC Press and at major on-line retailers: http://bit.ly/TCWBOOK1     Intro Music: Josh Woodward - Airplane Mode -  Music - "Airplane Mode" by Josh Woodward. Free download: http://joshwoodward.com/song/AirplaneMode  Outro Music: RoleMusic - Bacterial Love: http://freemusicarchive.org/music/Rolemusic/Pop_Singles_Compilation_2014/01_rolemusic_-_bacterial_love    Copyright: Attribution: http://creativecommons.org/licenses/by/4.0/

Au menu de l'actualité : UNGA80

Gurdip, Bec and Justin decided to crack open a time capsule from the early 1980s and inside sat the album that has become possibly the most divisive Elvis bootleg ever released. Intended as a spoof of cash-grab compilations of "hit" Elvis movie songs by RCA in the 1970s, an infamously crass compilation bringing together some of the "worst" of Elvis's film songs at first glance seems to be going for mere shock value, but the contents of the album and the story behind its compilation do reveal in-jokes from deep within the Elvis fandom at the time. The question then becomes, did the jokes reach their intended target or did they fly over everyone's head and simply pile on more mockery and add to the problem? Justin reflects on Greil Marcus's contemporary account of the album from 1985, which frames it as part of an ironic, playful punk recontextualization amid a cultural reckoning with Elvis as an object of mass attention, but also ponders whether that read misses the forest for the trees. And what of the songs themselves? Do such songs as "US Male" and "Beach Boy Blues" deserve to be labeled as among the "greatest sh*t"? We discuss it all within! For Song of the Week, Gurdip blasts through the breezy "Carny Town" from Roustabout, while Justin meditates on "We Call on Him," the inspirational number written explicitly for Elvis released as an Easter single in 1968. If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. If you'd like to support us another way, please drop a positive review on your favorite podcast platform!

Tom Trottier explains Marx's Economic theory and how we can understand the current crisis.

Antonio Balmer explains the relative decline of US imperialism and the strengthening of BRICS

AI investment is exploding: the “Magnificent Seven” of Apple, Microsoft, Google, Amazon, Meta, Tesla, and NVIDIA, are ploughing almost 7% of US GDP into AI and data centres. That's the same scale as the US housing boom in 2006, and greater than the dot-com bubble at its peak. Today, just seven firms make up 34% of the S&P 500, the highest concentration in history. Earnings per share in these companies grew 37% last year, compared to just 6% in the rest of the index. But history warns us, RCA in the 1920s, dot-coms in the 1990s, that transformative technologies can change the world while destroying fortunes. The question now: is AI the next revolution, or the next bubble waiting to burst? Hosted on Acast. See acast.com/privacy for more information.

Nick once again coming to you from Burghley Horse Trials and joined this morning by the Mirror's David Yates. First up Richard Hannon joins the show, who is hoping that Rosallion will finally land a Group One in 2025 in Sunday's Prix du Moulin at Longchamp although he faces some stiff competition. Nick and Dave touch on the latest in the Hillsin case which is scheduled for a hearing next week before Wilf Walsh of the RCA explains why David Armstrong is stepping down as Chief Exec. Breeder John little shares his delight in the success he has seen Lady of Spain go onto with Roger Varian, the latest a Group 3 success, and he discussed his why he thought the mare was perfect for sire Phoenix of Spain. Then with the Malton open day taking place this weekend we hear from Beck Edmunds and finally Kevin Walsh offers a rebuttal to Charlie Brooks's piece in the Telegraph earlier in the week, regarding the future of summer jumps racing.

Shooter Jennings reveals the story of hundreds of unreleased recordings his father Waylon made between 1974-1984, including stunning covers now being released as "Songbird" - plus more musical stories from the lives of the Jennings family. Order the new "Songbird" LP here. Topics Include: Shooter Jennings discusses upcoming Songbird release featuring his late father Waylon's unfinished recordings Most songs were actually complete with vocals and instruments already recorded professionally Waylon privately recorded after 1974 RCA battle, keeping hundreds of tapes unlabeled Tapes digitized in 2008 but sat untouched until Shooter systematically catalogued everything recently Discovery process was emotional journey revealing Waylon's constant studio experimentation and joy Found treasure trove including Fleetwood Mac's "Songbird" cover and multiple complete albums worth Shooter mixed everything on vintage 1976 analog console maintaining authentic original sound Three planned album releases starting with Songbird, featuring different themes and flavors Tony Joe White plays harmonica, Jessi Colter sings, original band members returned Cataloging required detective work, Googling lyrics, consulting surviving band members for identification Growing up as Waylon's son meant different childhood, touring summers, recognizing fame Family record collection included Beatles, Harry Nilsson, later Waylon bought entire collections Teenage Shooter brought home Nine Inch Nails, Nirvana; parents showed concern but support Waylon's deep friendship with Buddy Holly, plane crash guilt haunted him for years Eventually found closure visiting crash site, could finally look at wreckage photos Parents advised being authentic, not copying others; mother worried about rough crowd Shooter's career shows risk-taking from country to experimental electronic and industrial music Produced diverse artists from Duff McKagan to Marilyn Manson, always seeking creative challenges Early collaboration with father on Fenixon project mixed country with industrial influences Vinyl remains important, frequent Amoeba Records visits, special Record Store Day releases planned Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide