Podcasts about RCA

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.

Au menu de l'actualité : 

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.

I due standard dei vinili spiegati: perché esistono il 33 e il 45 RPM e come la guerra commerciale fra Columbia e RCA ha cambiato la musica per sempre. Una storia di matematica, ingegneria e visioni artistiche diverse — scopri come due velocità diverse hanno conquistato il mondo della musica analogica e cosa significano davvero per il suono che ascoltiamo. #ViniliSpiegati #33RPM #45RPM #StoriaDeiVinili #MusicaAnalogica #CoseMoltoUmane #VinilRecords #AudioFil #StoriaDellaMusicA #TecnologiaMusica #Columbia #RCAVictor #LP #EP #RivoluzioneDelVinile #PodcastMusica #CulturaAudiofila #StoriaDellaMusica #GrooveVinilico #RecordsCollector Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to The Money Trench! This week, Mark is joined by Craig Logan, a manager and executive whose career spans every corner of the industry. From his teenage years in Bros, to senior leadership roles at EMI and RCA, and now as the founder of Logan Media Entertainment (LME), Craig's story is one of reinvention, resilience, and a lifelong passion for music. During their chat, Craig reflects on his remarkable journey, from playing to next to no one in clubs, to working with stadium-filling icons like Pink and Tina Turner. NEWSLETTER ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sign up HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for the TMT newsletter - featuring each week's hottest music industry stories. SOUNDON The Money Trench is sponsored by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SoundOn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. TIXEL The Money Trench is sponsored by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tixel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. PPL  The Money Trench is sponsored by the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PPL⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. KEEP UP TO DATE For the latest podcast and music business updates, make sure to follow us on:  Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@the_money_trench⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ LinkedIn: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Money Trench⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Money Trench⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET IN TOUCH If you have any feedback, guest suggestions or general comments? We'd love to hear from you! -⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get in touch here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thanks to our partners ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SoundOn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tixel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PPL ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Earth/Percent⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tom A Smith⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Aimless Play⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Fourth Pillar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sennheiser⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Junkhead Studio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tape Notes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Executive Producer: Mike Walsh Producer: Tape Notes 

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 ______________________________________

O luso-belga Joseph Figueira Martin foi condenado a 4 de Novembro de 2025 pela justiça da República centro-africana a 10 anos de trabalhos forçados e ao pagamento de 50 milhões de francos CFA num caso de suposto atentado contra a segurança interna e organização criminosa. E isto após ter sido raptado em Maio do ano passado no leste da RCA por supostas milícias russas Wagner, numa área onde actuavam grupos rebeldes, e posteriormente ter sido encarcerado. A defesa apresentou recurso da sentença deste antropólogo luso-belga, que na altura trabalhava para a ong americana Family Health International 360. A família insurge-se contra esta decisão do Tribunal de Bangui de 4 de Novembro: Georges Martin é irmão de Joseph Figueira Martin, ele denuncia um julgamento que considera injusto, denunciando supostas provas forjadas e a tortura que o irmão teria sofrido.   Eu gostaria de, num primeiro momento, expressar a mais profunda indignação da família inteira em relação à sentença de dez anos de trabalhos forçados. O Joseph está sendo acusado de conspiração criminosa e de tentativa de desestabilização do governo centro-africano, enquanto as suas interações com grupos armados apoiaram indiretamente as acções da ONU e da sua missão de paz. Então, todos os esforços do Joseph foram no sentido de promoção da paz na República Centro-Africana e a condenação dele é inteiramente injusta.    Conseguiu falar com ele? Como é que ele está? Como é que ele se sente, depois do choque da condenação?  Infelizmente, ainda não pudemos, não foi possível conversar diretamente com ele. Conseguimos novamente mensagens através das autoridades presentes na República Centro-Africana, que são os cônsules honorários de Portugal e esperamos que seja possível libertar ele o mais rapidamente possível.  E as autoridades da Bélgica, de Portugal, da União Europeia: estão cientes do que está a acontecer ?  Acredita que eles vão poder agir?    Sim, sim. A família tem estado em contato constante com as autoridades da Bélgica e esperamos que eles, em conjunto com o Parlamento Europeu e com o Conselho Europeu, consigam elaborar uma intervenção urgente para que o Joseph seja libertado. Em relação a Portugal, infelizmente não tivemos apoio nenhum por parte das autoridades portuguesas e esperamos que eles se envolvam também em libertar um cidadão português que está preso injustamente na República Centro-Africana. Gostaria também de destacar que o julgamento é completamente injusto e ele está repleto de falhas processuais. As provas usadas contra o meu irmão foram obtidas sob a ameaça de armas de calibre militar apontadas para o seu rosto. E todas essas supostas provas deveriam ser consideradas inadmissíveis em juízo, porque elas violam os princípios da justiça. Então o Joseph tem sido uma vítima de um processo inteiramente injusto e esperamos que todos os esforços possam ser redobrados por parte dos governos da Bélgica, de Portugal e da Comissão Europeia para que uma solução seja encontrada da maneira mais rápida possível.    Tentei contactar o Ministério Português dos Negócios Estrangeiros. Disseram-nos que não seria possível conseguir uma reacção do ministro.  A família também não entende a postura de Portugal no sentido. Fizemos diversas tentativas de contacto com eles para poder entender o que eles estariam fazendo para ajudar o Joseph a voltar para casa e até ao momento não obtivemos resposta. Então também gostaríamos de entender de que maneira Portugal se posiciona para com que um cidadão português seja libertado.  Porque ele, antes de ir para a República Centro-Africana, ele morava em Tavira, no Algarve, é isso ? Exactamente. Ele mora em Portugal há alguns anos já. E a família, a maior parte da família, mora em Portugal também, então não entendemos a ausência de Portugal nesse caso.  De realçar que em Julho passado o Parlamento Europeu aprovou uma resolução denunciando "a detenção arbitrária e a tortura de Joseph Figueira Martin» e apelado a sanções contra os responsáveis de tais actos contra este trabalhador humanitário. Num comunicado emitido a 6 de Junho a ONG Protect Humanitarians « condena esta sentença e apela à libertação incondicional" de Joseph Figueira Martin. Trata-se de um antropólogo luso-belga, especialista em transumância, que estava em Maio de 2024 no sudeste da RCA, região palco de rebeliões armadas. Ele tinha sido acusado de uma série de crimes, incluindo espionagem, a pena máxima que ele se arriscava a cumprir era prisão perpétua.

O eurodeputado socialista português Francisco Assis  foi o autor de uma resolução do Parlamento Europeu condenando a RCA pela violação dos direitos humanos em relação a Joseph Figueira Martin, sequestrado no ano passado, no leste da República Centro-africana. Este antropólogo tendo sido condenado nesta terça-feira por um tribunal de Bangui a 10 anos de trabalhos forçados e ao pagamento de 50 milhões de francos cfa por preparar uma quadrilha e atentar contra a segurança interna. O eurodeputado socialista português Francisco Assis começa por reagir à sentença proferida contra o luso-belga, Joseph Figueira Martin.   Em primeiro lugar, queria salientar o seguinte: Ele esteve muito tempo à espera deste julgamento. Finalmente, o julgamento ocorreu... em condições extremamente precárias, pela informação de que disponho e a defesa já anunciou que vai recorrer, porquanto as acusações que foram formuladas não foram provadas. E a sentença, na óptica da defesa, é profundamente injusta e desprovida de fundamento legal minimamente válido. Para além disso, julgo que tem de prosseguir a acção diplomática, quer da União Europeia, quer dos governos de Portugal e da Bélgica, porque nós estamos perante uma situação que atenta contra os direitos humanos. Falar de trabalhos forçados é algo de absolutamente inconcebível no contexto epocal em que nos encontramos. Portanto, eu julgo que, para além da questão do ponto de vista estritamente judicial, em que o advogado de defesa já manifestou a intenção de imediatamente recorrer desta decisão, que é profundamente, na óptica dele e na minha óptica, que acompanhei o processo profundamente injusta. Para além disso, deve haver uma ação diplomática, tendo em vista até encontrar também uma solução nesse plano. Parece me fundamental que o Joseph Figueira possa sair o mais rapidamente possível da República Centro-Africana e possa vir para um país europeu.   Tem algum contacto com a ONG norte americana para a qual ele trabalhava para poder apurar também algo do que lhe foi acontecendo: ele ter sido sequestrado no leste da RCA pelas Wagner, depois ser entregue às autoridades da RCA?   E os contactos que tem mantido tem sido com a família. É através da família têm sido prestadas todas as informações sobre a actividade que ele desenvolvia sobre a ONG a que ele estava associado. Tudo o que foi o seu percurso de vida. Estamos a falar de um antropólogo que se dedica fundamentalmente ao estudo do fenómeno da transumância, que fez vários estudos neste domínio e que naquele momento estava até a desenvolver um trabalho de natureza humanitária naquela região e que foi apanhado no meio de um conflito gravíssimo entre as forças rebeldes o Estado da República Centro-Africana e o Grupo Wagner. Como sabemos, é um grupo russo, de mercenários russos que tem operado agora com outra designação. Tem operado, opera já há uns anos naquela região de África. Ele é vítima de tudo isto. É uma vítima de um processo bastante político, bastante complexo. E é como vítima que tem que ser visto. E nós temos, creio eu, nós quer a nível da União Europeia, quer a nível de Portugal e da Bélgica... temos absoluta obrigação de fazer tudo quanto estiver ao nosso alcance para o retirar o mais depressa possível das prisões da República Centro-Africana.   E, portanto, naquela área onde ele se encontrava quando ele acabou por ser sequestrado, poderia haver conflitos étnicos entre comunidades locais, é isso que se presume ?   É uma zona de conflito. Nós estamos a falar de uma zona de grandes conflitos e conflitos complicados, porque são conflitos entre movimentos jihadistas, o Estado, o grupo Wagner. Agora com outra designação também envolvido. Portanto, eu tenho consciência que o problema é complexo e que ele foi... E ele, que estava a desenvolver um trabalho humanitário, foi apanhado no meio daqueles conflitos. Agora, o que eu não tenho dúvidas nenhumas é que as acusações que impendem sobre ele são destituídas de fundamento. Porque acompanhei o caso, falei com as pessoas, sei qual é o trabalho que ele desenvolveu, percebi qual é a natureza da sua personalidade. É alguém que estava estritamente a desenvolver um trabalho humanitário. Eu julgo que no final deste processo, o que tem que prevalecer é a preocupação dos Estados de Portugal e da Bélgica, porque tem a dupla nacionalidade. E da União Europeia, porque ele é um europeu. Temos que fazer tudo, tudo o que estiver ao nosso alcance para que ele possa sair da República Centro-Africana o mais depressa possível. Eu acredito que isso possa vir a suceder.   O advogado de defesa Nicolas Tiangaye contestava a validade das provas que foram apresentadas para justificar a acusação. Falava-se, por exemplo, de um par de óculos que era suposto serem de José Figueira e que ele nem sequer reconhece. Portanto, elementos de provas que a defesa diz terem sido orquestrados, por exemplo, blocos de notas, dois telemóveis com imagens tidas como sensíveis, Uma "maquinação" diz a defesa, não é ?   Sim. E eu estou absolutamente certo que assim foi. Isto tudo num contexto de uma guerra que está a ser travada naquela zona, de um confronto que é um confronto muito complexo e que evidentemente gera situações desta natureza. Lamentavelmente, agora aqui a questão fundamental para mim: esta não tenho dúvidas nenhumas que o Joseph Figueira é vítima no meio deste processo todo. foi injustamente condenado. Está há muito tempo já preso em condições indignas de uma prisão na República Centro-Africana. E nós temos obrigação absoluta de desenvolver, sobretudo a partir de agora, todo um trabalho diplomático, tendo em vista permitir a sua saída da República Centro-Africana. E estou convencido que isso é possível.   O senhor eurodeputado Francisco Assis foi autor da resolução do Parlamento Europeu que condenou a RCA por violação dos direitos humanos em relação a Joseph Figueira Martin. Porquê esta iniciativa?   Precisamente porque tinha consciência do que se estava a passar. Tinha sido alertado para esta situação. Estudei-a e falei com várias pessoas. Apercebi-me da natureza do problema. Entendi que estávamos perante um atropelo claro aos direitos humanos de uma pessoa em concreto. Tê-lo-ia feito se fosse de outro país. Tenho feito, aliás, imensas propostas em relação a cidadãos dos mais diversos pontos do mundo. Mas tinha uma responsabilidade, neste caso, acrescida pela circunstância de estarmos a falar de um cidadão português e portanto, acho até estranho, muito estranho, que em Portugal ninguém se mobilize. As pessoas estão sempre disponíveis para se mobilizarem para determinadas causas, e bem. Mas depois, neste caso concreto, por razões que eu não descortino, praticamente ninguém fala no assunto. O que eu acho absolutamente lamentável. E espero que a partir de agora se inicie uma campanha para que ele rapidamente saia da República Centro-Africana.   Que leitura é que se pode fazer do facto de que o embaixador belga é o representante da União Europeia estiveram presentes durante o julgamento. O embaixador português na RDC não esteve apenas. O cônsul de Portugal em Kinshasa se deslocou no início da audiência. Que olhar é que tem sobre efectivamente o acompanhamento que a diplomacia portuguesa está a dar a este caso ? Ainda não compreendi a razão de ser da falta de acompanhamento por parte da diplomacia portuguesa. Tenho constatado isso. É um facto objectivo e o apoio da diplomacia belga tem sido bastante maior do que da parte da diplomacia portuguesa. Mas é um assunto que ainda procurei esclarecer. Acha que neste momento, de facto, a República Centro-Africana é uma área para se desaconselhar a qualquer cidadão europeu? À luz do que está a acontecer e nomeadamente também em relação ao caso do sequestro e do encarceramento do Joseph Figueira Martin ?   Todas as zonas de conflito... e há uma parte da República Centro Africana que está a ser... E não estou com isto, a atacar as autoridades da República Centro-Africana porque também estão a confrontados com um conflito grave. A verdade é que todas as zonas de conflito são zonas desaconselháveis. É, aliás, uma zona toda de África que é hoje dominada por conflitos graves. E, portanto, o risco de ocorrer a qualquer pessoa algo de idêntico ao que ocorreu ao Joseph Figueira é real. E nessa perspectiva, evidentemente teremos. As pessoas devem ponderar seriamente para onde se deslocam.  

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

Jewel Williams, an engineering manager at Ørsted, shares insights about managing a diverse renewables portfolio and the distinct challenges of offshore and onshore wind. Leading operations of over 27 sites, containing wind, solar, and battery storage, Jewel showcases the skillset needed to successfully work in wind. Sign up now for Uptime Tech News, our weekly email update on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard's StrikeTape Wind Turbine LPS retrofit. Follow the show on Facebook, YouTube, Twitter, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary Barnes' YouTube channel here. Have a question we can answer on the show? Email us!  Welcome to Uptime Spotlight, shining Light on Wind. Energy's brightest innovators. This is the Progress Powering Tomorrow. Allen Hall: Hey, Jewel, welcome to the program.  Jewel Williams: Hey, nice to be here.  Allen Hall: Well, we have a lot to talk to you about. You're an engineering manager. In wind and uh, we know all the pressure that's involved there just from the outside. Um, we're not working in it day to day. Of course. I am really curious with all the recent changes of things that are happening on the ground, what is your day to day like right now? Jewel Williams: Yeah. Uh, well, you know, it kind of depends on the day, of course. Uh, so, you know, in addition to wind, both in the onshore and offshore, we have, um, best solar and, uh, crane support on my team. So. Kind of depends on what's, what today's challenges are, what are the impending deadlines. [00:01:00] Um, so, you know, it could be compliance, it could be dealing with legal, it could be disputing an RCA or building an RCA it, it really just depends on the day. Joel Saxum: I think we breezed over that one almost too quick when we were talking about wind engineering manager and we kind of said engineering manager, and then you went wind solar. Battery storage and then this wild card cranes, you know, when, when we speak with people in the industry, everybody's busy. That's, that's the constant email you see back and forth. Oh, sorry, I was a little bit late there. Thanks for your patience with this. We're busy with this, we're busy with that. I don't think we've talked to anybody, Alan, that has like a complete renewables portfolio as an engineering manager. And then also cranes. We're just gonna throw that in there. Um, so, so I have a net specialty. I is, is it a lot of firefighting?  Jewel Williams: It, it can be. It can be. Ideally we are shifting towards the kind of reactive to the proactive, but you're in operations and so a lot of times when work is hitting your desk, the first thing that [00:02:00] happens is a problem where failure and then the work comes to you. So in that case, like there's certainly quite a bit of, uh, firefighting and you mentioned the cranes is a bit of a wild card. I think that was one that. They weren't quite sure where to put. And we had a good team and a decent people leader, and so they were said Jewel, hey, here's a job description. We need you to hire a crane guy. And that was an interesting experience because I did not have the background to make the hire in the first place. But it's worked out really well. I've got an awesome guy to support.  Allen Hall: So how many people are on your staff At the minute?  Jewel Williams: Right now we have nine engineers.  Allen Hall: Okay. So you're doing wind, best, solar, and cranes with nine people. How many wind farms, solar farms and best sites do you have altogether?  Jewel Williams: Altogether? 24. Allen Hall: Wow.  Jewel Williams: So we have two onshore bests, uh, four solar, and the rest is winds. Uh, and then, uh, three of those are offshore wind sites.  Allen Hall: And how far scattered [00:03:00] about the country are they?  Jewel Williams: Well, they're a little bit of everywhere,

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.

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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.

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In this second installment with Mike Duplissey, Doug Simcox dives deeper into Mike's remarkable rodeo journey — including his move from the IPRA to the RCA, Marilyn's NFR push with her horse Dan, and unforgettable behind-the-chutes stories. Mike opens up about the early days of Loretta Lynn's rodeos with Bruce Lehrke, his lifelong friendship with Lecile Harris, and the infamous streaking incident that nearly got him blackballed. He also shares how he and Marilyn became the faces of Ely Walker western wear, landing a long-running advertising gig that brought rodeo into mainstream catalogs and magazines. Be on the lookout for more episodes with Mike as his story continues.Presented by ParaSight System—helping vets help pets with FecalSight, FlowSight, and HemaSight diagnostics. Learn more at ParaSightSystem.com.Wandering Gypsy RV Life: https://open.spotify.com/show/746s6L4oLDcSdQPR3AcU1F?si=e729c69f873f4b2cWestern Festival de St Tite: https://www.festivalwestern.com/Mountain Cove Rodeo Reunion: https://www.facebook.com/groups/729424520834071Mike Swearingen Rodeo Reunion: https://www.facebook.com/mike.swearingen.104Here are some resources for Beyond the Chutes:Facebook:https://www.facebook.com/profile.php?id=100093822821241Official Website:https://beyondthechutes.show/Spotify: https://shorturl.at/bvK35Apple Podcasts: https://shorturl.at/jnGV4YouTube: https://tinyurl.com/bdcju8nzParaSight SystemsCoupon: BTC023 for 50% off Mail In Test Kitshttps://www.parasightsystem.com/The IRA Projecthttps://www.facebook.com/groups/681292165259783#BeyondTheChutes #MikeDuplissey #MarilynDuplissey #RodeoHistory #BarebackRiding #NFR #IPRA #RCA #LorettaLynn #DoubleLRodeo #BruceLehrke #LecileHarris #ElyWalker #WesternWear #CowboyLife #RodeoLegends #RodeoFamily #inourroots

Steven Blier is the co-founder and artistic director of the New York Festival of Song, and has served asprogrammer/translator/pianist/arranger of more than 150 of its programs.He has been a recital collaborator with some of the great singers of our time, including Renée Fleming and Cecilia Bartoli. He has recorded on the Koch, New World, Nonesuch, Albany, and RCA labels, and he won a Grammy Award in 1990. He was also nominated for Grammy Awards in 1999 and 1989.  Most recently, he issued six new albums on NYFOS Records, including Schubert/Beatles with Theo Hoffman and Julia Bullock.Blier has been on the faculty of the Juilliard School since 1993, and has given master classes around the U.S. in song repertoire. A longtime feature writer for Opera News Magazine, he has been guest faculty/recitalist at the Wolf Trap Opera, Santa Fe Opera, the Steans Institute at the Ravinia Festival, and San Francisco Opera. He holds a BA degree from Yale University, summa cum laude, Phi Beta Kappa.

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Matt KersnerIggy Pop “The Passenger” from the 1977 album "Lust for Life" released on RCA. Written by Iggy Pop and Ricky Gardiner and produced by Bewlay Bros.Personel:Iggy Pop – lead vocalsDavid Bowie – piano, backing vocalsRicky Gardiner – lead guitarCarlos Alomar – rhythm guitarTony Sales – bass, backing vocalsHunt Sales – drums, percussion, backing vocalsCover:Performed by Josh Bond and Neal MarshIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Writer Josh Bond. Produced by Frank Charlton.

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

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Matt KersnerIggy Pop “The Passenger” from the 1977 album "Lust for Life" released on RCA. Written by Iggy Pop and Ricky Gardiner and produced by Bewlay Bros.Personel:Iggy Pop – lead vocalsDavid Bowie – piano, backing vocalsRicky Gardiner – lead guitarCarlos Alomar – rhythm guitarTony Sales – bass, backing vocalsHunt Sales – drums, percussion, backing vocalsCover:Performed by Josh Bond and Neal MarshIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Writer Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Bobby WhitlockDerek and the Dominos “Keep on Growin”Derek and the Dominos “Layla and Other Assorted Love Songs”My Morning Jacket “Z”Dave Matthews BandLord HuronTim ReynoldsWilcoThe Grateful Dead “US Blues”Bob DylanWillie NelsonGaslight AnthemBruce SpringsteenSam Fender “People Watching”Brian FallonJack AntonoffBleachers “Modern Girl”David Bowie “China Girl”Lou ReedThe Velvet Underground “Heroin”Julian CasablancasInterpolJim MorrisonThe Doors “The End”Patti Smith “Because the Night”10,000 ManiacsJimmy IovineSimon and Garfunkel “Homeward Bound”Neil Young “Out on the Weekend”Souxsie and the BansheesJoy DivisionIggy Pop “Lust for Life”The KinksChuck BerryThe Troggs “Wild Thing”David Bowie “Hunky Dory”The StoogesDavid Bowie “Low”Duran Duran “Hungry Like the Wolf”The Human LeagueDeep Purple “Smoke on the Water”Iggy Pop “Success”Dog the Bounty HunterREO SpeedwagonLouie Louie “The Kingsman”Queens of the Stone AgeThe StrokesDropkick Murphys “Shipping Up to Boston”The RamonesThe Clash “Jimmy Jazz”Canned Heat “On the Road Again”The Sonics “Have Love, Will Travel”REMLumix DTEThe Lost BoysDavid HassellhoffThe Mighty Mighty BosstonesChuck Berry “Johnny B Goode”Elon MuskMichael HutchenceBatman ForeverABBAPeter Murphy “Cuts You Up”

Lifelong Elvis collector Ian McQuillan discusses the rarest records of Elvis Presley - from Sun Records worth $10,000+, international rarities, even shares insider tips for spotting counterfeits, and explains why young collectors are driving a thriving market for the King's rarest vinyl. Topics Include: Ian McQuillan introduces himself as 55-year Elvis fan since age 2 Scottish parents in New Zealand exposed him to Elvis on record player "Big Hunk of Love" was his first memorable Elvis song obsession RCA distributed Elvis records globally, making them widely available worldwide Elvis market remains strong while other 50s rockabilly artists declined significantly Elvis cornered teenage markets in UK, Australia, New Zealand more than US Parkes, Australia hosts massive annual Elvis festival with 20,000+ attendees Elvis Week celebration started small, now draws 50,000+ fans to Memphis Elvis has bigger catalog depth than any other recording artist Sun Records represent collectible pinnacle - only five official 45/78 releases 78rpm records rarer due to shellac brittleness, 95% destroyed over time Sun 209 "That's All Right" commands $10,000-12,000 in mint condition Sam Phillips used multiple pressing plants, creating interesting variants and rarities Initial Sun pressings probably 20,000-30,000 copies, reaching 200,000 total eventually Early distribution concentrated in American South, spreading through Elvis touring Promotional Sun records exist with distinctive red stamps, worth significant premiums Jack White famously paid $300,000 for unreleased Elvis acetate recording RCA reissues sound much cleaner than original hissy Sun pressings Sam Phillips likely pressed extra inventory after selling Elvis to RCA Counterfeit Sun records identifiable by shiny vinyl, wrong dates, label gaps Pre-army Elvis albums (1954-1960) remain most collectible among LP collectors SPD promotional EPs from first album worth $1,200-4,000 in good condition Australian gold label first album worth $1,500-2,000, extremely hard to find Colored vinyl "Moody Blue" pressings command $2,000-3,000 from collectors 8-tracks, reels, cassettes now collectible after being worthless for decades Follow That Dream label produces high-quality Elvis reissues for serious fans New Elvis footage and recordings still surface regularly from private collections Young professionals in 20s-40s driving current strong collector market demand Elvis Week features conventions, tributes, candlelight vigil at Graceland annually Colonel Parker's merchandising legacy created massive collectible memorabilia market today 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

Trapital Summit is on Sep 10 in LA. Join us! Get your tickets here. The major record labels are adapting for the modern era. Lately, that shift has them looking less like RCA and more like KKR. These companies have invested less in signing new artists and more in acquiring the legendary back catalog of music. With streaming driving steady royalties, the music rights of proven hits are valuable. Music companies have teamed up with private equity firms to cash in. I also break down how this changes artist deals, lowers risk-taking, and opens the door for global investors and even artists to buy in. 00:33 The Shift to Private Equity 03:45 The Back Catalog Boom 09:24 A&R Reductions 12:14 What The Future Holds This episode is presented by State Farm, the home for your small business needs. Like a good neighbor, State Farm is there. Listen in for our Chartmetric Stat of the Week. Trapital Summit is on Wednesday September 10 in LA. Join us!

Dallas Murrae pulls up to IGSSTS and sits with Squints615. He brings his DJ (Wes) and his guitarist (Dom) for the conversation. They discuss his early career and RCA contract...up to his current tour run with Kng Ego and Jo Tyler. An episode you definitely should tune into!Check out Dallas Murrae HERE..https://symphony.to/dallas-murrae/liveontour?fbclid=PAQ0xDSwLv0g1leHRuA2FlbQIxMAABp4wU9fE1F-17Bl4gtvvk6qpDmnQbRxQzhSbOEsqWdCrEhq1A5PO7N9Ksq7Xo_aem_KYdBseHpQkCH20G2_yikwABIGS&P - SHOW AND PROVE ENT FOLLOW CHAD ON YOUTUBE NOW ‪@ChadArmesTV‬ MERCH AVAILABLE AT WWW.CHADARMESTV.COM for S&P MERCHWWW.IGOTSUMSHITTOSAY.COM for PODCAST MERCH