Podcasts about RCA

Allen and Joel are joined by Jeremy Heinks of CICNDT to discuss the critical need for pre-installation blade inspections, especially as safe-harbored blades from years past are rushed into service. They cover advanced NDT technologies including robotic CT scanning, blade bolt inspection for cracking issues, and how operators can extend turbine life beyond the typical 10-year repower cycle. 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: Jeremy, welcome back to the show. Thanks for having me. Well, the recent changes in the IRA bill are. Pushing a lot of projects forward very quickly at the moment, and as we’re learning, there’s a number of safe harbor blades sitting in yards and a rush to manufacture blades to get them up and meet the, uh, treasury department’s criteria for, for being started, whatever that means. At the moment, I think we’re gonna see a big question about the quality of the blades, and it seems to me. The cheapest time to quickly [00:01:00] look at your blaze before you start to hang them is while they’re still on the ground. And to get some n DT experience out there to make sure that what you’re hanging is appropriate. Are you starting to see that push quite yet? No, not not at Jeremy Heinks: the level we’d like to see it. Um, as far as getting the inspections in, yeah, we have been seeing the push to get the, get these blades out. Uh, but, uh, the, the, the few that we have been able to get our eyes on aren’t looking good. The quality definitely down. And we’ve just had a customer site come back with some, some findings that were surprising for a brand new blade that hasn’t been the up tower yet and in use. So, um, it is much easier for us to get the, uh, technology and the personnel to a blade that’s on the ground. It’s cheaper, it’s quicker. We can go through many, many more blades, uh, with inspections. Uh, it’s just access is just easier. Always comes down to access. Joel Saxum: That customer that you had there, like what was their [00:02:00]driver? Right? Did they feel the pain at some point in time? Did they, did they have suspicions of something not right? New factory? Like, I don’t know. Why would some, why is someone picking that over someone? Not because like you said, overwhelmingly. The industry doesn’t really do this. You know, even just getting visual inspections of blades on the ground before they get hung is tough sometimes with construction schedules and all these different things, moving parts. So you had someone that actually said, Hey, we want to NDT these blades. What was their driver behind that? Jeremy Heinks: So we, uh, we had done a previous, uh, route of inspections on some older ative of theirs that were, Speaker 5: um, Jeremy Heinks: getting. Kinda along in the tooth, if you will. Uh, so they’ve added some experience. They saw what we could bring to the table as far as results and, and, and information and data on those blades. Uh, and it all turned out to be, um, pretty reliable. So, um, you know, we educated them on, you know, if you have new blades coming in or even use the blades coming in for replacement, that it’s not a bad idea to get at least a, a sample it. And, uh, [00:03:00] basically that’s what they call us in to do. They had some brand new blades come in. For some new turbines they’re putting up. And, uh, they wanted the sampling. We did a sampling and the sample showed that, uh, they have an issue of these, these brand new blades. Joel Saxum: So, okay, so what happens then? Right? Because I’ve been a part of some of these factory audits and stuff, and when you catch these things in the factory, you’re like, Hey, where we got these 30 defects? And then the factory goes back against their form, their form, you know, their forms and they go, okay, material checklist is a, we’ll fix 24 of ’em. The other six are on you or whatever that may be. What happens when you find these things in the field at a construction site right? Then does that kick off a battle between the, the new operator and that OEM or, or what’s the action there? Jeremy Heinks: Yeah, so we’ve been on the OEM side and been through what you just explained, um, multiple times and helped a bunch of the OEMs on that stuff, that stuff. But unfortunately, when you’re in the field and you find the same thing, it’s, it’s a whole different ball game. Um, they typically. We won’t see any of that. We don’t, we won’t be able to [00:04:00] see what the OEM actually does unless we have informa, you know, information or channels that, that are a little bit different, uh, than normal to, uh, get that information. So, um, but yeah, so we, we’ll give this information over to the customer. Uh, they’ll go to their supplier and then that’ll turn into a. To a dance and, uh, where everybody’s trying to pass the buck, basically, right? So, um, unfortunately that’s the way it’s been. We will see how this one turns out. It, it all depends on, on the relationship between that OEM and the customer and the end user. Joel Saxum: So, so this is my, my last question about this and, and then I want to, of course, jump topics we have a lot of talk about here today. But the question being, okay, so say they do repairs. Is it then a good idea to bring you guys back in after those repairs are done to say NDT? Everything looks good here. Um, basically clear to fly. Jeremy Heinks: Yeah. [00:05:00] So, uh, post inspection on repairs is always a good idea. Um, the aviation side is, it’s commonplace to, uh, post in inspect repair. So yeah, definitely, uh, we’d wanna come back. Um, you know, and that’s something we’re working on too in-house as a, uh, working on a new training. Syllabus to where we can give some of the basic NDT tools to, uh, end users so that if a repair company would come in, they would be able to have their technicians do a quick, you know, quick test. Uh, it’s what we used to call like an operator level inspection. And then if they saw some of the stuff we trained ’em to that we could come back and, and bring in a level three or a level two and look at their information and then maybe do a reinspection if they thought they saw something that was bad. Allen Hall 2025: Joel, you and I had discussed a couple of months ago with an operator in the United States and the Midwest that was gonna be building a repowering, a wind farm with turbines, uh, that were a couple of years old. Remember that discussion about what version of [00:06:00] the blade are those? And it was an early version. I was surprised how long those blades had been sitting in the yard, and we said, well, it’s gonna have a B and C problem. You need to get somebody out there to inspect those blades before you hang them. That’s the perfect case for NDT to get out there and look because it wasn’t like every blade had a serial defect. It was just kind of a random thing that was happening. Do you remember that situation? Joel Saxum: Yeah, and it was really interesting too because you know, we’re on like that specific blade. We’re on like version nine of it out in the field right now. But since I think those were like in 20 19, 20 20, they had been safe harbored from they, those blades have the advantage of now having 3, 4, 5, 6 years of. History within the market of all of the issues that pop up. So we were able to tell that operator, Hey, since these things haven’t flown yet, we know it’s this, this, this, and this. You should have NDT come out here and do this. You should do this. This basically preemptive repair, this proactive measure before you fly these [00:07:00] things. Um, and I think what we see right now, Alan, like you said, just to open the episode with IRA bill changes and. And these new legislation coming up, there’s a lot of stuff coming out of Safe Harbor that’s gonna get flown. Allen Hall 2025: Oh, it’s gonna have a huge, uh, amount of blades that have been sitting there for a couple of years. And, but if you, the operator haven’t used those blades or don’t know the service history of those blades, it’s kind of a mystery and you better be calling other operators that are using them. But ultimately, when it gets down to it, before you hang those blades, and I know everybody’s in a rush to hang blades. You better take a look at ’em with NDT, especially if there are known issues with those blades. And the the problem is you can’t just do a walk down, which is what I think a lot of operators are doing right now. Send a technician down to make a look. Make sure the blade’s all in one piece, like I guess that’s where they’re at. Or we’ll walk inside and kick the tires and make sure all the bond lines are there. It’s a lot more complicated than that, and particularly if you know there’s a source of problem on a particular [00:08:00] blade, you can’t see it. It can be buried deep inside. How are you gonna know without having somebody with NDT experience? Joel Saxum: This is the interesting thing too, here with that specific case that that developer will call ’em. They said, I talked with the OEM. They said there’s nothing wrong with these blades. And they like, that was like, they’re like, they’re like, yeah, we checked with them. They said, there’s no issues. I said, you must have been talking to a sales guy because anybody from that engineering team is gonna tell you that. Or maybe they don’t want to, right? They, of course they don’t want to come clean with this, but that’s why we, that’s why we have the, like the uptime network and people that you can talk to and things of these sort out there and experts like Jeremy, right? The C-I-C-N-D-T guys, because they’ve seen the worst of the worst, Jeremy Heinks: right? We typically only get called in when it’s the worst of the worst, but to, uh, toss ’em with more wrinkle. Toss one more wrinkle into the whole storage thing. Uh, we got a project a few years back where the storage site, like, ’cause the blades had been stored for like 15 years, like seven years prior. The storage [00:09:00]site was underwater for like three weeks, like 20 feet. Like it was a massive flood, 20 feet of water or 10 feet of water, whatever it was. So the, it was a lot of water anyway. The bottom two thirds of these blades were. Rotted because of water logs being sitting in the water. And of course over the last seven years they got cleaned up. They looked good ’cause of the rain and everything and it looked bad. So we get out there, we’re scanning laminates and you get like halfway down the blade and it just with the, you know, terrible signal. And so we look back on the history and sure enough there was floods in the area. So those are things you gotta look at too. These blades are coming out of these long-term storage. I mean, how were they stored? How what has gone, what weather has been through that storage area in the last whatever years? Uh, because all that affects these blades when they’re on the ground. I mean, they’re, they’re, they’re fairly secure when they’re up tur up turbine and they’re meant to be in that environment. They’re not really meant to be getting just hit hard with weather when they’re on the ground. ’cause they’re [00:10:00] not sealed up. They’re not, you know, you know, a lot of different things there. Joel Saxum: Another ground issue, and I, I’ve, I’ve heard of this one through my insurance connections and stuff like that, is, um, when blades are on the ground, there’s, this is not an abnormal thing. It happens quite regularly that it shouldn’t, but it does. That heavy, strong winds will come through and can blow the blades over when they’re sitting in their chairs, right at the, or they’ll start, yeah, they’ll start fluttering in ways that they’re not designed to flutter. Right? They’re designed to take the gravity loads and take the force loads the way they are up tower when they’re sitting on the ground, it’s a completely different game. So if they’ve been there, if they’ve experienced an extreme weather event or something of that sort, NDT is the only way you’re gonna figure out if something is really wrong with ’em. Jeremy Heinks: Right. And that rolls into handling as well. So shipping, handling at the plant, handling from, you know, in between. Different movements. Uh, like you said, they, they’re designed to be in an environment that’s hung from a turbine and, uh, get those types of, you know, elements and the winds and everything on. That’s not everything we do to when on [00:11:00] the ground. So Allen Hall 2025: turbines, a lot of times, even at the blades are in storage. They get moved around a good bit. And what we’re finding, talking to operators is that a lot of the damage we’re seeing later on in some of these blades. Was most likely due to transportation. So maybe it was on the ship on the way over, or maybe when they got trucked to the, uh, storage site or they got bumped into. It does seem to be a lot more of that. And the lift points seem to be another area where, you know, you know, I think there’s some, uh, need to be taken a deeper look at. Obviously the root bushings are a problem area for almost everybody at the moment, but also further out on the blade. There seems to be. Uh, repeatable damage areas that you see that you wouldn’t be able to detect until you got the blade spin. And, and then you see these cracks develop. But a lot of that can be sussed out on the ground, especially with knowledgeable people. Jeremy Heinks: Yeah. So that’s just another reason for, you know, pre-installation inspection. Um, you know, a lot [00:12:00] of places you’ve got experts moving these things, you know, experts lifting ’em, whatnot. But when they’re in a, they’re on a ship or they’re in a yard. A lot of times the guys that are professionals at moving them aren’t there. So it’s gonna get moved by somebody and they’re not gonna know exactly what they’re doing, even if they’re trying their best to be, make sure they’re following procedure or whatnot. But, um, you never know who’s moving on, who’s, you know, what, what, what kind of skills or the experience they have. Joel Saxum: So, so that brings me into another question here, Jeremy. Right? We’re talking about skills and tools and these kind of things in the industry. When we say NDT, I would like everybody listening to know that when we say NDT, we’re talking about a wide gamut of technologies, of solutions, of products, of, uh, you know, methodologies for inspection here. NDT is just a broad scheme for non-destructive testing. We wanna see inside of something without cutting it, breaking it, whatever we have to do. [00:13:00]So, can you, can you walk us through the approach that kind of CIC will use? So, hey, customer comes to me, we have this issue. Okay. You guys have, I don’t know, 20, 30, 40, 50 different ways of doing things. Um, but how does that conversation usually start? What does that process look like for an operation? Jeremy Heinks: So it, I mean, it all depends on it’s case by case with what kind of issue they’re looking for. But, uh, we recently had our. Our, our lab opened up in, in Ogden, Utah, where we’ve got, um, a lot of in-house technologies now, like robotic ct, uh, laser ultrasound, um, and then urography, all the normal stuff. We typically throw out these things, but deposit focus, but we’re able to do just about anything. A lot of advanced materials, and of course a lot of that came from us servicing the DOD, the defense and the, the aviation, it’s space side of the house. But now that we have them all in one place. If a wind customer has an, let’s say they have, um, a root issue or they have a bottom line issue, or they’ve got, um, you know, or these, uh, carbon fiber [00:14:00] main spars, you know, you’ve got some new types of defects to out of these. Typically what would happen was you cut into these things to see what’s wrong. And of course, we’ve all seen what cutting composites does it, you know, it can be kind of messy and it can damage a defect that’s existing so you don’t have a good look at it. With these technologies we have in house now, especially with the CT part of it, we can do a inspection. We can see everything of a area that is unmolested, right? So we can, let’s say you find something and you’re scanning, let’s say you are an OEM and you’re doing ultrasonic inspection or thermography, and you find something in house, well, you can cut around that, send it to us, we can scan it and get a 3D image, you know, of the full material thickness. Really break that down without having the damage, the defect. Uh, and this is stuff that hasn’t been really gone into on the wind side yet. We do it on aviation and space all the time, um, for defect characterization. And then, you know, we have a really good picture of what’s going on there. [00:15:00] Uh, we characterize defects that way and we can also come up with better inspection solutions that way. Allen Hall 2025: Well, that’s interesting because I’ve seen it in aviation all the time. I assume they were doing it in wind. You have to have a way to understand what the defects are and when you see one, or especially if you don’t understand what is causing it, you just can’t cross section that you want to take a large section out and then scan it. Understand what is likely the source of that problem that’s not being done. And when, too much at the moment, I think it is, but it’s, Jeremy Heinks: it’s finally getting cheap enough that, uh, it’s. It’s an option, right? So it’s, it’s always been kind of expensive, but the equipment has come, is coming down in cost and we have a very unique system in-house. It’s not typical to your normal CT system. So we use, uh, a robotic system, a cobots, so we can, we do very large, very large parts, uh, and, uh, composites of course are typically lower energy. So [00:16:00] it’s, um, pretty much tailored for that type of part. Where other CT systems may, might be tailored to other, other types of parts. Allen Hall 2025: So then you can actually take some significantly large size pieces. Then what’s the, what’s the biggest size part you can take and, and get some data out of? Jeremy Heinks: I mean, again, comes outta the time and money. Uh, right now our largest piece is probably, um. Probably like a 10 foot by six foot section. Allen Hall 2025: Whoa. Jeremy Heinks: I mean, in theory we could do a, we could do a whole wing in theory, you know, um, which could be a, you know, a decent sized blade even. But, uh, that would require specialized bay, um, and some extra tooling. But, uh, right now in-house, yeah, we could do, uh, fairly large sample. Joel Saxum: The first time I ran into you, uh, Jeremy in the wind industry was probably three, four years ago. I think, and you may not even have known this, but it was on an, it was on an RCA case for an insurance company, and they’re like, we, [00:17:00] we did the, our, our initial, where the team I was with at the time, our initial RFI, Hey, we need this data, this data, this data. And they sent, they sent us this just library of stuff and they were like. Can you use this? What is this? And it was all NDT data from, from the issue that we were inspecting. It was like, this is the most amazing batch of data we have ever received on an RCA. Who are these people? Where did this come from? Um, and I think that, that, that was my first, ’cause, you know, from the oil and gas side, NDT, that’s just regular. You’re doing it all offshore platforms, like you’re always doing NDT. It’s just, it’s just an accepted thing. Uh, you know, and the, the, of course the offshore technicians for NDT, the, the rates are a lot different. Um, and so I was like, okay, yeah, we we’re using nd this is when I first was really getting going and win. I was like, oh, great, we’re using NDT and Win. But since then, it’s still, it’s been. Very specialized use, you know, RCAs or like a special repair or something like that. You just don’t see it very widespread. And, and it’s, it’s frustrating because, you know, from, I guess from my past, like you can see the value of this [00:18:00] tool and you see some tertiary kind of things out there where people are doing little NDT with robotics and this and that, but like, it’s like the industry hasn’t grasped onto it. Like, I don’t know if the engineers just don’t, just don’t know that it’s available or know the value of it or why they’re missing it. Because you go back to the idea of, um. You go to your general practitioner or the doctor and say like, okay, yeah, you got your knee hurts. Okay. Yeah. Shake it around a little bit. Like, okay, we’re gonna, we need to prob maybe do surgery here and before we do that, let’s go get an X-ray or a MRI. So we know exactly what we’re supposed to do. When we get in there, we make it efficient. We make bang, bang, bang, clean cut and all, and we’re done. That’s the same thing as like, uh, to me, a really deep lightning repair. You know what I mean? We hear these war stories all the time of people saying like, oh yeah, they quoted us 20,000. And this team quoted us 50,000, and then the $20,000 team, we gave the project to them, they got in there and it ended up being a hundred thousand. Well, if you would’ve spent 15 grand or 10 grand, or five grand or whatever it may be to get some NDT work done on this thing before [00:19:00] you opened it all up, you might know what you were getting into and be more efficient. Come with the right kit, less standby time, the right technicians on the job, all this stuff, just like your surgery on your knee. I mean, have you seen anybody picking up that idea in the wind industry? Jeremy Heinks: Not as, not as much as I’d like. Um, there’s been a coup, there’s some of the OEMs have tried to automate, tried to bring it in. Um, most of ’em do some inspection. Um, and it really is the plant by plant, depending on what kind of support they have. We all know whenever things are times are tight or, uh, or you need to have the cycle time as the most important thing. You know, quality is the first one to get cut. So, you know, that’s, that makes it a tough. A tough sell in a lot of people’s books ’cause we add cycle time and we add costs, uh, at the manufacturer. Um, but, um, you know, the other thing I’ve seen is, you know, when they do try and implement something where, let’s say some automation where they could do this stuff quickly and, [00:20:00] you know, over the mass produced parts that they have, um, you know, they, they go to an automation company that doesn’t know much about NDT. If they do know about NDT, it’s, it’s not wind. NDT. So. Um, you know, the, they would be better off if they would contact, you know, a company like ours or there’s a few of us out there where all we, like a majority of our work is in the wind industry. Um, there’s a, there’s a couple in Europe, there’s a couple over here. Get those guys in first. It doesn’t have to be us. Um, but get somebody with practical Yeah. You know, experience and that practical part is the most important part, and have them help you with a practical approach. To the inspection with automation. I mean, that’s, there’s simple and easy ways to do this that just haven’t been done yet. Allen Hall 2025: Um, Jeremy Heinks: not gonna say it’s gonna be cheap, but it should be, um, usable. It’s not gonna end up on a shelf. Like I always keep telling everybody, all these systems, just they, I’ve seen millions of dollars spent and it just sits on a shelf [00:21:00] collecting dust. Happens all the time. Um, and that’s in the field as well. Uh, we see a lot of really cool robotics sink coming out. A lot of, uh, drone. Interior drone stuff, exterior, drone stuff, uh, and just looking for a practical approach. You know, these guys, a lot of ’em come at it with, um, really good intentions, but, uh, they don’t have the experience needed to, uh, know what they’re gonna run into when they do these, these types of applications and therefore, kind of missed the mark. Allen Hall 2025: Jeremy, I’ve been to a site recently and noticed up on the whiteboard. Blade bolts were their particular issue. And I saw a couple of the blade bolts sitting in the shop there and they had cracks, big cracks and broken blade bolts. And I thought, man, that’s a huge problem. And the number of turbines that were listed was incredible. It’s not technicians and mechanics are out there all day fixing these blade bolts ’cause there’s so many bolts per blade. You just multiply the numbers like wow, they have a huge [00:22:00] problem. The issue is you can’t really tell which Blade Bolt has a crack in it while it’s installed, unless it falls out, and they were having that problem too. How can you attack that problem from an NDT standpoint? Can you suss out what bolts are likely to fail or, or in the process of failing? Jeremy Heinks: Yeah, so in bolt inspection is isn’t new. Um, it’s gonna, sounds kind of new to the wind industry, but uh, oil and gas aviation. We’ve all done, we’ve been doing bolt inspection on those for quite a long time. So even in, uh, on marine with the, you know, sail sailing vessels with the mask bolts. Uh, so, uh, these are things that we can do ultrasonically, um, you know, whether it’s stalled and look for cracks at different, uh, lengths. Um, of course we need a little bit of information about the bolt itself, the material, um, design length, all that stuff. But, uh, no, we can definitely do a, a, uh, inspection. Whether it installed or not installed on the bolts? Uh, you mean it wouldn’t even be a [00:23:00] bad idea to get the bolts inspected before they get used for installation? You know, that could be done with, uh, a few different methods that are pretty quick. Uh, but, uh, the other thing we’re working on, uh, actively is a monitoring system also where, uh, we’ll be able to attach the sensors to the end of the bolt and, uh, it’ll be able to, uh. Monitor the, the health of the individual bolts over time. Allen Hall 2025: Can you see inclusions, or what is the defect that’s causing these bolts to start to crack? Is it something in the casting of the bolts themselves or the machining? Are they overheating them when they’re getting machined or not tempering them correctly? All the Jeremy Heinks: above. So we can definitely see that, um, you know, on new bolts you’ll, you’ll be able to see if there’s manufacturing defects or if there’s material defects, um, that maybe didn’t get caught during manufacturing. Or, um, you know, receiving inspection. Allen Hall 2025: I have one of these bolts that’s like two and a half feet long you can actually see inside and tell me where that defect lies. ’cause you cannot see it on the outside when they’re all [00:24:00] finished. Jeremy Heinks: Right. Typically we use ultrasound, uh, for, uh, quick inspection on that. Um, I mean, if it’s out of the, the turbine, you know, first year x-ray and make particle, that kind of trend, you know, everything gets your to outta, but the ut seems to be pretty, pretty straightforward on those. We’d even signed the cracks that are in the threads if we had the right, um, bit jangle to the, uh, the beam. Allen Hall 2025: Okay. So if you just received a whole truckload of these bolts, which is sort of the quality that you’re coming in right now, you could ut inspect each one of those before you took ’em up tower and, and spent all the money to install ’em and make sure that the manufacturer actually is delivering a proper product. Are Joel Saxum: they doing that at the factory? Why are they not doing that at the factory? Jeremy Heinks: Because Allen Hall 2025: they’re told they’re Jeremy Heinks: good when they get ’em from a supplier. Allen Hall 2025: That seems like a huge, if I’m the attorney at Blade Bulk Company, China Limited, I would want to make sure that I won’t gonna kill somebody because, ’cause those things are falling out and they’re just gonna [00:25:00] lawn daughter it underneath the turbine. Joel Saxum: And a hard hat’s not gonna save you from a bolt coming down. Allen Hall 2025: Well, you could tell by the number of problems that they were having that they had replaced some of these bolts. The new bolts had also had problems. So as a, a sequence of replacements, at some point you have to stop that process. You have to validate the part. You’re putting in the turbine is correct, right? I mean, when you have to do that Jeremy Heinks: on my side, you, you get what you pay for. And if you’re gonna go for cheap, you should probably spend a little bit to make sure what you’re getting is Allen Hall 2025: somewhat decent. So how, what would that entail to check them in the o and m building and say, you got a hundred bolts show up on site. What are we talking about in terms of time to make sure that at least the, the sanity check is being done before you spend the money to install these bolts? I mean, if we put together something, it could be done a few minutes per bolt. Throw me a, throw me a time and a dollar amount. Are we talking about millions of dollars or thousands of dollars for this? Thousands of dollars [00:26:00] Strong. Jeremy Heinks: We could probably get a system together that would be extremely cheap and effective. So I mean, if there’s, if that’s something that needs to exist in the industry, then we can definitely put together something that we can sell. Allen Hall 2025: I think people don’t realize that that is a thing. They don’t know that that’s possible. You can’t go to Amazon and buy a blade, bolt checker that’s not there. You can buy a lot of things on Joel Saxum: Amazon though. Allen Hall 2025: Let me ask you about the thing. I’ve seen the sort of the unscientific blade bolt check. Where they, have you seen this Jeremy, where they hang the bolt on one end and they tap it in the other and it, and it rings right? It makes this kind of a bell noise and they think they can hear if there’s a defect inside of there. Can you hear if there’s an inclusion or some sort of crystalline defect inside this blade bolt by tapping it? That’s, it’s a resonance test and Jeremy Heinks: I, I think you could definitely tell, you can definitely tell if there’s something going on. I think you would have to have a good control though. So if you, you have to have, you’d have to have one bid [00:27:00] vote. To balance against, I would imagine, and someone with good hearing. Yeah, I, it’s tap testing with anything is always subject to so many things. So it’s, uh, it’s better than, Allen Hall 2025: better than nothing probably. But, uh, how much better than nothing? Is it just slightly better or is it like, well you get, at least you’re getting the worst ones out of the lot. Uh, would it even do that? Unless I had it announced to, to try it, um, I would wanna. Say either way, but you see the little tap hammers, I’ve been on site and seen the little tap hammers sitting on guys’ desks that are the, you know, the, uh, calibrated tap test tool to see for DAS, that is not an easy tool to use. And it’s not even right for all the applications because it only, it’ll see something on the surface, but where, what can’t it see? Jeremy Heinks: So there is a regulated. Way to do tap tests. There’s, [00:28:00]it’s, as you have a certified tap test that you have to have, uh, noise levels and the environment have to be at below a certain amount, your, your guy doing, the person doing the test has to have a hearing check annually, and it has to be at a certain level. Um, the tap hammer has to be, is proportional to the thickness of material you’re looking at. ’cause if you’re looking at some, I mean, it’s only good for so, so thick. Like if you’re looking at. 10 millimeters, 15 millimeters fine. But once you get past 20, you’re gonna use a heavy hammer. And I’ve seen hammers in some plants that were probably causing damage, you know, ’cause they were so heavy, like, and they’re just, it was a piece of rebar with a ball bearing welded on the end of it, and they’re just hammering away. And it was so loud in the bay that even when they got lucky, when it crossed the dry glass area, they didn’t hear it. They just kept on rolling. Joel Saxum: Man, I thought, I thought a tap test was literally like a technician with a, with a, like a one euro coin in their hand or something. Just like ding ding [00:29:00] d ding, ding, ding. Like, that’s my tap test. Like you got a quarter. Jeremy Heinks: I have done a lot of tap tests, but it was like on radars where you had like two layers of carbon fiber and it was super thin and you could really hear, it works sometimes, but you just have, it’s got limitations just like any other method of inspection. So, and if people just. Allen Hall 2025: Don’t abide Jeremy Heinks: by Allen Hall 2025: this. If you have a technician roll into the o and m building, listen to Def Leppard on 11, then you’re probably not picking the right guy to do the tap test because it does take a lot of sensitivity to hear these minor changes. It’s not easy. Or the Lake Green, Ozzy Osborne. Yeah, right. If you see a, an Ozzy sticker on the guy’s pickup truck, probably not the right choice for the uh, tap test expert. The funniest thing ever. Jeremy Heinks: On the aviation side, we’ve gone to so many aviation or space group areas that use tap test and it’s always the oldest guy that has the hardest hearing, that’s doing the test every time, every Allen Hall 2025: time [00:30:00] they pass the most stuff. That’s why production doesn’t slow down. You said it, not me. I wanna expand the scope just for a minute. Uh, there’s gonna be a lot of, a lot of sites right now because of the changes in the IRA bill that are not going to be able to. Uh, get their next round of production tax credits and reapply because they’re gonna miss this window, right? So you have blades that are seven and eight years old, or turbines eight, seven, or eight years old. You’re not gonna be in that window of opportunity pretty much depending on what happens with the treasury rules. That thing is like it’s going to force operators into taking a deeper look at the health status of their turbines, maybe more than they have in the past to know, am I good for another 10 years, or if I do a little bit of preemptive maintenance on my existing fleet, can I get ’em 10 years, maybe 15 years? That’s the look I think that everybody’s trying to evaluate right now, and I think the [00:31:00] key to all of that is to actually have some NDT data. To actually look inside and to see, do I have a blade root issue that’s still early, that it’s gonna pop up at year 12? Do I have a cracking issue that I need to go take a look at? How does that factor into the planning over the next year, 18 months? For me, it was a little eyeopening when we went Jeremy Heinks: down that and visited our friends in Australia, and that’s kind of how they live, right? With their, their wind farms. They, they have to make ’em last. And it was, it was eye-opening and I, I just had a conversation with one last week. One of the people we met down there and they were looking into, uh, main bearings, a pitch bearing, and they’re cracking, right? So these are things that can be inspected with ultrasound or other things, and we can find these cracks internally. Like this is stuff that we don’t get to see much in the US or, or, you know, markets like ours because they get replaced, right? Everything gets just, we have a throwaway attitude when it comes to blades because of, you know, repowering and other things. Um, [00:32:00] where. Places like Australia or like in the islands where we’ve got a customer, that’s not how they look at it. These things have to last 30 years, you know, or longer, you know. So, uh, inspection and preventive maintenance is, is is, uh, the way to look, way to go. It. I mean, again, oil and gas, the stuff they have has to last a long damn time. A lot. You know, they do preventative maintenance. They have repair schedules or replacement schedules, all this stuff. And maybe we gotta start looking at that stuff a little more smartly on our side. Um, and, uh, budget for more inspection on these things that we know will go bad over time. And it’s not necessarily just the blade, but other parts of the turbine as well. You know, we’ve got a a yup. Bearing we’re looking at too. And that’s, that’s a pretty large. Part you have a crack in it, but Joel Saxum: ha bearing. Jeremy Heinks: Yeah. So these are things that didn’t crack. So we’re looking at, uh, with different inspection methods as well. [00:33:00] So, Allen Hall 2025: so do you think the roles of reversing that the Australian European methodology to keep turbines up and running is going to be applied to the states, and how is that going to transfer that knowledge transfer gonna work because it. The staffs in. A lot of us operators are set up for that 10 year period. Like they, they don’t really think about year 11 anymore. They haven’t for a number of years. How do they get spooled up on that and what resources are they going to need to get to year 15 and 20? If I was them, I would be reaching out to Jeremy Heinks: our partners in Australia or Europe and ask those questions. And a lot of these comp, a lot of these large energy companies are not just us. They’re. Multiple, you know, areas of the world that they, they brought in. So they have, they should have the knowledge and the leverage in house. They’re just gonna have to connect those people or, you know, people, people, people like you guys are gonna be able to, you know, bring that knowledge and connect those people. ’cause I mean, you guys are great at connecting people for [00:34:00] sure. Joel Saxum: That’s what we, we try to say that to everybody though, too. Every time we go to, like, Hamburg is next year, right? The, the Hamburg is to me is the best wind show in the world. Hamburgers next year. Wind Europe is coming up. Like if you’re a US operator, if you, if you’re, you name it, one of the big conglomerates that has people on both sides of the pond. Yeah. Connect up internally. Come on. Get your act together. But the other side of it is, is there’s a lot of people here that aren’t, they just don’t know. You know, there’s a lot of operators that are very large here. They don’t have anything else anywhere else. Go to Hamburg, go to Wind Europe, go, go over there, just go to the conference, see the technology, see the innovations, talk to the people, have some conversations because it will be eye-opening and you know, and, and there is another one too that I think is a very important, um, there’s some ISPs that go across the pond, back and forth, and some of these good ISPs have a lot of really good knowledge about what goes on back and forth because there’s a different operating model over there as well. There’s a lot of the. Financial asset owners that [00:35:00] just have the plants and they entrust someone later on in life to manage it for ’em. Where these ISPs have 20 vestas engineers and 20 Siemens engineers and 20 SGRE engineer or you know, all these people there. So there’s, there is a way to get this information back and forth, but you’re a hundred percent correct here in this conversation. I guess the, all the three of us here. We’re staring at, uh, a cliff that we need to figure out how to get wings on before we, we don’t want it to be like the red, the red Bull thing, where every, just into the water. We don’t wanna do that. We wanna fly up the cliff. Jeremy Heinks: But we’ve seen, we’ve seen this too, at some of the, the o and m focused, you know, show or conferences or gatherings. The ISPs aren’t, aren’t brought in ’cause they’re scared. It turns into a sales pitch. Um, but again, I like the one we had in Australia last year. That was great. It was, hey. This isn’t a sales pitch, just tell ’em. I mean, most of us know, I mean, I, I’m gonna be up there speaking. I’m not, I don’t have to do a sales pitch. If I, if what I’m saying is valuable to somebody, they’re gonna come find me, [00:36:00] which is what happened after that. You know, people reach out, you know that they’re gonna be like, oh, that I have that issue. I’m gonna go talk to this guy. You don’t have to do a sales pitch, just say, Hey, this is what we, what we found. These are the things we ran into as we do these things. And just keep it about the, uh, about the, about the problems. That we’re facing? Allen Hall 2025: Well, yeah, that’s gonna be the key for the next couple of years, just because a lot of the engineers and staff on the United States, uh, have not been to a lot of conferences and talk to technical people because they haven’t needed to. It’s more of, Hey, I need to keep the blade running a couple more months and then we’re gonna move on to the next project. We got a Repowering project going on. It’s been in that sort of build mode for a number of years, and that whole. Logistics, uh, internal workflow is going to change where they need to be bringing outside resources in to help them understand what they’re missing or what key components do they have over in Denmark or Germany or France that we don’t have on staff at the minute, and why do [00:37:00] they have it? One of those is going to be NDT and a lot of it, I think just because of the age of the turbines and the. I would say the era in which they were built, it’s gonna lead themselves into more inspection. That’s, I think, an avenue for C-I-C-N-D-T to explore, obviously. But I think the key is to get the engineers and the sort of the maintenance staff out into the world again, and to come to some of these conferences. Like j when Jeremy speaks, you should be there listening because he’s gonna give you all the answers in about 30 minutes of what you need to go do. That’s the key. Right? Jeremy Heinks: Right, right. And I mean, not just myself, but anybody in a position where you’ve got knowledge and experience that would benefit the whole industry, um, you know, certain volunteering, get, get out there and uh, and pass the, you know, pass the word out. You know, it’s like, you know, we had this thing in the NDT industry where. A certain generation of the, the older guys that had all this experience, all our senior level threes, you know, back then it was, you [00:38:00] wanted to hold everything in because that was your key, that was your ticket to getting a payday. Right. But ended up is when those feasible people all retired or, or worse. Um, then though that knowledge got passed down and uh, it was all kept up. And you look at, look at the aviation industry, the fumbles they’ve had lately with quality. And that’s because of that. ’cause they don’t talk to each other, none of that. They, they this year, all these problems they’re having right now in aviation stuff that they took care of in the fifties, right. And they just forgot. So now we get, have a chance to try and not do that in the wind industry. Um, you know, if you’re an expert in something, get out there. And, I mean, it’s tough. Like I don’t like talking in front of big crowds or anything, but. It’s, uh, once you get rolling and people get engaged and with guys like you to help out, you know, it’s, it’s not a bad type. Just set the ball in the tee and let you take a whack at it. But you could be in the difference between somebody having a whole farm, uh, a wind farm, go, go down, or they have a, like we’ve come across people that have had [00:39:00] blades or turbines offline for weeks, if not months, because they have an issue they don’t know they can do anything about. And then they bring us in and like, Hey, we did the inspection. This is repairable. Or we did the inspection. You should just get rid of this blade or, or whatever. It’s just they’ve been paralyzed and that, I don’t think that’s, you know, something that needs to happen Allen Hall 2025: either. Well, they shouldn’t be paralyzed. They should be calling C-I-C-N-D-T or going to the website, cic ndt.com. Get ahold of Jeremy, get ahold of the staff because they have a, a tremendous amount of knowledge about blades, about how to inspect them and how to keep the turbines running. Quickly, yes, it costs a little bit of money, but it’s well worth it when you have these turbines down for months on end, and I’ve seen that this year. It’s insane. They should have called. C-I-C-N-D-T and gotten their turbines back up and running. Jeremy, how can people reach you directly? Can they get ahold of you on LinkedIn? Jeremy Heinks: Yeah, get on uh LinkedIn and just search Jeremy Hikes or you can go to our website, uh, ct.com and [00:40:00] we’ve Allen Hall 2025: got links to uh, get ahold of us there and go to some of the wind conferences because Jeremy’s gonna be there laying down the knowledge on NDT and you won’t want to miss it. So, Jeremy, thank you so much for being on the podcast. We love having you. Thanks for having me.

En Afrique, les positions françaises ont été pour le moins bousculées ces dernières années. Pour actualiser notre compréhension de ce continent, il faut donc clarifier les dynamiques des acteurs géopolitiques. Pour ce faire, planisphère reçoit le docteur Niagalé Bagayoko, Docteur en sciences politiques, responsable de la formation Afrique à la FMES et présidente du think tank ASSN. Cette émission a été enregistrée le 10/10/2025 dans le cadre des RSMED à Toulon, avec les moyens de RCF Méditerranée, diffusée le 16/12/ 2025. Planisphère est une émission de RND et RCF, produite par Pierre Verluise, reprise en podcast sur Diploweb.com avec en bonus une synthèse rédigée à l'adresse https://www.diploweb.com/Planisphere-Quelles-recompositions-geopolitiques-en-Afrique-Avec-N-Bagayoko.html Extrait de la synthèse rédigée : "Ces dernières années, les positions françaises en Afrique ont été profondément bousculées. Pour actualiser notre compréhension du continent, il faut clarifier les jeux d'acteurs, étatiques et non étatiques, qui reconfigurent pouvoir, influence et récits. Invitée de Planisphère, Niagalé Bagayoko dresse un panorama sans fard des rapports de force et des angles morts européens.L'échec de l'intervention au Sahel (militaire et civile) a conduit à l'expulsion des forces françaises du Mali, Niger, Burkina Faso, et à la fermeture de programmes de développement (AFD). La présence militaire française se réduit à deux bases (dont Djibouti en pivot), avec maintien d'effectifs au Gabon et fin de dispositifs en Côte d'Ivoire, Sénégal, Tchad. Au cœur : une contestation souverainiste et nationaliste remettant en cause l'efficacité et la légitimité françaises.La Russie combine retours historiques (ex. Mali) et implantations inédites (RCA). Les performances militaires de Wagner sont contrastées (revers au Mozambique, limites en Libye et Soudan, échec à Tin-Zaouatine après la reprise de Kidal). Là où Moscou excelle, c'est dans l'informationnel : relais audiovisuels (RT, Sputnik), radios locales en langues nationales, société civile et récits calibrés, un maillage capacitaire souvent sous-estimé par Paris.Au-delà des opérations adverses, la désaffection précède l'offensive russe : résultats jugés insuffisants contre les groupes armés, tonalité moralisatrice des partenaires internationaux, effets pervers d'une communication qui minimise les capacités adverses. Sur ce terreau prospèrent théories du complot (ex. fantasmes de prédation des cheptels), qui cristallisent un soupçon généralisé envers « les acteurs traditionnels ».L'Arabie saoudite déploie de longue date réseaux religieux, éducatifs et humanitaires. Le Qatar s'affirme économiquement et diplomatiquement (médiations RDC–Rwanda, dialogue inter-tchadien, formats régionaux). L'Irans'appuie notamment sur les diasporas libanaises (dont chiites). La Turquie conjugue activisme économique et sécuritaire (diplomatie des drones TB2). Israël relance ses liens africains et ambitionne une place accrue dans les enceintes panafricaines. Ces acteurs s'imbriquent dans les agendas locaux plus qu'ils ne les dictent.Structurellement, l'Afrique demeure en queue de priorités américaines, malgré des pics d'intérêt (ex. AGOA sous B. Clinton). Sous D. Trump, le prisme a souvent été contentieux (ex. Afrique du Sud) mais ponctué d'initiatives ciblées (médiations, dossiers sécuritaires). En parallèle, un soft power religieux (évangéliques, réseaux conservateurs catholiques) travaille les sociétés sur le temps long.Les élites et opinions publiques africaines sont actrices des recompositions. Une lame de fond patriote/souverainiste, souvent conservatrice sur les questions sociétales, reconfigure les attentes envers l'État, les partenaires extérieurs et les normes « libérales ».(...)"Lire la suite de la synthèse à l'adresse https://www.diploweb.com/Planisphere-Quelles-recompositions-geopolitiques-en-Afrique-Avec-N-Bagayoko.html

Miguel Ángel González Suárez te presenta el Informativo de Primera Hora en 'El Remate', el programa matinal de La Diez Capital Radio que arranca tu día con: Las noticias más relevantes de Canarias, España y el mundo, analizadas con rigor y claridad. Hoy hace un año: La vivienda cierra 2024 como el principal problema para los españoles. Hoy se cumplen 1.417 días del cruel ataque e invasión de Rusia a Ucrania. 3 años y 307 días. Hoy es martes 30 diciembre de 2025. Día Internacional del Cine Indio. El 30 de diciembre fue el día que los fans decidieron celebrar el Día Internacional del Cine Indio, con el claro objetivo de promocionar y difundir las excelentes obras cinematográficas de diversos géneros que se han desarrollado en este exótico país, lleno de bailes, colores, leyendas y mitos religiosos. 1902: El Gobierno español envía navíos de guerra a Tánger, que se mantienen preparados para invadir Marruecos, lo que más tarde supondrá el inicio de la Guerra del Rif. 1918: En Alemania se funda el Partido Comunista de Alemania. Tal día como hoy, 30 de diciembre de 1922 Vladimir Lenin, el revolucionario ruso que creó el leninismo, una extensión de la teoría marxista proclama el establecimiento de la Unión de Repúblicas Socialistas Soviéticas. 1953: En Estados Unidos, la empresa RCA saca a la venta el primer televisor color NTSC (1175 dólares cada uno). Años más tarde, el 30 de diciembre de 1972, el presidente de Estados Unidos, Richard Nixon, detiene los bombardeos en Vietnam del Norte y anuncia conversaciones de paz. 2006: La banda terrorista ETA hace estallar un potente coche bomba en el aparcamiento de la terminal 4 del Aeropuerto de Madrid-Barajas, interrumpiendo de hecho el alto al fuego iniciado el 24 de marzo. La explosión mata a dos personas de nacionalidad ecuatoriana. 2006.- Ejecutado el expresidente de Irak Sadam Husein. San Honorio, San Marcelo, San Rogerio de Cannas, San Raúl, San Sabino y San Severo. Las garantías de seguridad de EE.UU. para Ucrania se fijan en 15 años, según Zelenski. China responde a la compra de armas por Taiwán a Estados Unidos con "grandes" ejercicios militares. Feijóo ve 2025 como "el año del colapso total del sanchismo" y prevé que necesitará a Vox para la "gobernabilidad de España" Saiz defiende la capacidad del Gobierno para mantener políticas sociales con "presupuestos prorrogados" Ocho terremotos en unas seis horas al sur de El Hierro. El mayor de los temblores roza una magnitud de 4, según el Instituto Geográfico Nacional. Caixabank ‘salva’ en los tribunales 12,5 millones de euros que le reclamaba la Hacienda canaria. El Tribunal Superior de Justicia de Canarias sentencia que la Agencia Tributaria Canaria vulneró el principio de seguridad jurídica al aprovechar un recálculo ordenado por el Constitucional para reabrir una liquidación firme de 2012 e intentar suprimir una deducción al banco. La Guardia Civil detiene a dos hombres por pescar ilegalmente tres tiburones angelotes en Punta Mujeres. Se trata de una especie declarada en peligro de extinción en el Catálogo Español de Especies Amenazadas desde 2019. Élite Barcelona irá a los juzgados contra su homónima en Santa Cruz de Tenerife. La asociación del taxi catalana exige a la de Tenerife 86.400 euros por el uso indebido de la marca. El gremio chicharrero dice que está constituido legalmente y no cambiará su logo. Un día como hoy pero de 1997.- La reina Isabel II nombra Caballero del Imperio Británico al músico Elton John. Merry Christmas. Cantan Ed Sheeran y Elton John.

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

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

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

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

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

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

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

Au menu de l'actualité : 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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/

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.

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