Podcasts about Rostrum

13.-16. maini toimus Ljubljanas 71. rahvusvaheline heliloojate rostrum. Eetris on kokkuvõtted ja võiduteosed.

V Ljubljani se je z izborom zmagovalnih del zaključila Mednarodna skladateljska tribuna Rostrum 2025, najprestižnejši svetovni forum za sodobno umetniško glasbo, v Slovenskem mladinskem gledališču pa bo danes premierno prikazana predstava Olivera Frljića z naslovom Inkubator: Uspavanka za otroke, ki so se, še preden so znali govoriti, naučili gramatike smrti.

71.

V Ljubljani poteka 71. Mednarodna skladateljska tribuna Rostrum, prvič v več kot 70-letni zgodovini na Slovenskem. Ob tej priložnosti osvetljujemo zgodovino in namen tribune, ki poteka pod okriljem Mednarodnega glasbenega sveta. Zatem poročamo o gostovanju Orkestra Residentie iz Haaga v Zlatem abonmaju, v nadaljevanju skočimo še na Primorsko, najprej v Rafutski park v Novi Gorici, kjer je nastopil oktet rogov ter nato na prireditev "Z violino in malim basom od Rezije do Istre", ki je v soboto potekala v dvorani palače Gravisi Buttorai na sedežu Italijanske skupnosti Santorio Santorio v Kopru, konec oddaje pa bo v znamenju opere. Poročali bomo o aprilski uprizoritvi Donizettijeve opere Lucia di Lammermoor v tržaškem opernem gledališču in zagrebški uprizoritvi Rusalke Antonína Dvořáka.

Danes se v Ljubljani začenja 71. mednarodna skladateljska tribuna Rostrum, ki se v Ljubljani dogaja prvič. Sinoči pa so mladi džezovski glasbeniki v Cukrarni v Ljubljani s koncertom obeležili 60-letnico Evroradijskega džezovskega orkestra. Izšel je nov prevod pisemskih korespondenc med filozofinjo Hannah Arend in njenim nekdanjim profesorjem Martinom Heideggerjem. Danes se bo s turo po grafitih Trubarjeve ulice v Ljubljani začelo Prepišno uredništvo, ki letos nosi tematski naslov Prosto po prostoru. V Atriju ZRC v Ljubljani bo pogovor z razpravo ob 80. obletnici zmage nad fašizmom in nacizmom. Na današnji dan pa se bo slavnostno odprl 78. mednarodni filmski festival v Cannesu. Vabljeni k poslušanju!

Med 12. in 17. majem bo pod okriljem Programa Ars prvič v Ljubljani potekala mednarodna skladateljska tribuna Rostrum, eden najprestižnejših svetovnih radijskih forumov za sodobno umetniško glasbo. Ta bo s koncerti in drugimi dogodki osvetlila sodobno glasbeno ustvarjalnost, s posebnim poudarkom na slovenskih skladateljih. Kot uvod v tribuno bo Program Ars in z njim RTV Slovenija v okviru cikla Jazz Ars All Stars gostil poseben koncert, posvečen 60-letnici Evroradijskega jazzovskega orkestra. O tem glasbenem dogajanju in pomenu tribune razmišljamo z glasbenimi uredniki. Sodelujejo Gregor Pirš, Hugo Šekoranja in Primož Trdan.

O navdihu Almanachove slike Kvartopirci, posebnem glasbenem zagonu in godalnih tehnikah v skladbi The Card Players se pogovarjamo z avtorjem Maticem Romihom. Skladba, ki je bila na 69. Mednarodni skladateljski tribuni Rostrum zmagovalno delo v mladi kategoriji, bo ponovno izvedena na šestem večeru cikla Kromatika Simfoničnega orkestra RTV Slovenija. Kvartopirci na spletni strani Narodne galerije: https://www.ng-slo.si/si/imagelib/zoom/default/ZBIRKE/NGS/NGS0628.jpg

"Atsperes" viesis šoreiz ir komponists Krists Auznieks. Viņš ir viens no būtiskākajiem radošās komandas cilvēkiem Olgas Tokarčukas veģetārajā trillerī "Dzen savu arklu pār mirušo kauliem", kam 4. aprīlī aizvadīta pirmizrāde Dailes teātrī. Runājam par komponēšanu, tendencēm un studentiem... Gunda Vaivode: Vakar Dailes teātrī pirmizrādi piedzīvoja poļu rakstnieces un arī Nobela prēmijas laureātes Olgas Tokarčukas veģetārais trilleris "Dzen savu arklu pār mirušo kauliem", kura dramatizējumu veicis Matīss Gricmanis. Tu, Krist, pirmoreiz rakstīji mūziku teātra izrādei. Kad tu iepazinies ar šo darbu? Pirms kāda gada, kad Dailes teātra radošā komanda mani uzrunāja: tad arī diezgan ātri izlasīju to. Tajā laikā tulkojums, manuprāt, vēl neeksistēja, tāpēc lasīju to angļu tulkojumā. Mani uzreiz uzrunāja šī darba tēmas, un man arī bija skaidrs, ka piekritīšu un ka man tas būs gana interesants uzdevums un izaicinājums. Vai vari noformulēt sev, par ko ir šis stāsts? No vienas puses - par taisnīguma izjūtu. Par to, ka ļaunumam ir dažādas sejas. Lugas beigās izrādās, ka galvenā varone ir ļauna - viņa ir slepkava, viņa ir nogalinājusi. Lūk, esmu atklājis izrādes beigas un sabojājis visu skatītāju pieredzi, bet lielais jautājums ir par to, kā un kāpēc sanāk tā, ka cilvēks, kurš ir nogalinājis citus cilvēkus, ir tas, kuram mēs šajā gadījumā gribam piedot vai kuru mēs gribam attaisnot. Varbūt var rasties jautājums, kā mēs rīkotos līdzīgā situācijā? Respektīvi, mēs redzam, ka cilvēki ir ļauni pret citiem, pret citām dzīvām būtnēm, šajā gadījumā - pret dažādiem dzīvniekiem, un šo ļaunumu mēs esam gatavi piedot vai pat attaisnot. Mēs to ikdienā normalizējam, skatoties, kā uz mūsu pannām guļ citu dzīvu būtņu gaļa. Kad Janīna - lugas galvenais tēls - nogalina cilvēkus, mūsos ieslēdzas jau pavisam citas jūtas. Šeit tās mazliet tiek vienlīdzīgotas un mums tiek norādīts uz mūsu pašu domu nekonsekvenci.  Jā, izrādē vairākas reizes izskan jautājums, vai ļaunums obligāti jāsoda. Un atbilde nemaz tik viegli nenāk rokā. Ir jādomā! Jā, šis soda koncepts man nešķiet tik interesants, bet tas, ka šis jautājums liek mums orientēties, ir droši vien ļaunuma definīcija kā tāda. Vai vienu ļaunumu atriebt ar otru, vai tomēr darīt, kā Rainis mums ieteica - tikai ar labu. Sīriešu izcelsmes nīderlandiešu režisora Ola Mafālani tiek uzskatīta par īstu fantāzijas karalieni, un viņas izrādēs ir ļoti poētiskas ainas; tur netrūkst arī humora, un šajā gadījumā - arī kriminālromāna iezīmes. Bet kā jums visiem klājās sapņu komandā, kurā darbojas patiešām izcili mākslinieki - gaismu mākslinieks Alekss Broks, scenogrāfs Germans Ermičs - arī viņam, starp citu, debija teātrī -, horeogrāfe Elīna Gediņa, tērpu mākslinieki "Mareunrol's". Kāda bija sazobe vienam ar otru? Neradās problēmas tik spilgtām individualitātēm? Nē! Tā tiešām bija fantastiska komanda, un tas bija īsts komandas darbs, kurā mēs visi viens ar otru sarunājāmies no gandrīz paša sākuma pirms gada, līdz pat vakardienas pirmizrādei. Šajā gadījumā tas, ka šie mākslinieki ir tik daudzveidīgi, spilgti un arī griboši sadarboties, un viņi nevis svinēja savu ego, bet mēģināja kalpot idejai un sadoties rokās - tas viss palīdzēja nonākt pie darba, kas katram no mums šķiet vienlīdz nozīmīgs un vienlaikus arī daudz lielāks par katru no mums. Šajā lugā nereti tiek piesaukta arī astroloģija. Vai tev ar astroloģiju ir kādas īpašas attiecības? Lasi horoskopus? Par īpašām attiecībām es tās noteikti nesauktu. Man gribas cerēt un ticēt, un ir interesanti flirtēt ar ideju, ka kaut kur gaisā kādas nojausmas stāv laikam priekšā - ka mēs kaut ko varam nojaust par nākotni. Tuvāka man šķiet ideja, kas pausta grāmatā "Troksnis". Tā ir astoņdesmitajos gados rakstīta, un tās autors, kas ir mūzikas sociologs, piedāvā ideju, ka mūzika, kas tiek rakstīta kādā noteiktā laikā, paredz sociālus, politiskus un ekonomiskus procesus, kas vēl tikai notiks un nāks. Viņš šeit apskatījis mūziku no Lielās franču revolūcijas laika, pēc tam arī romantisma mūziku, un pēc tam arī 20. gadsimta mūziku. Un šādā ziņā mūzikai vairāk nekā jebkurai citai darbībai piemīt spēja pareģot nākotni. Mūzika, protams, neoperē verbāli, bet tā spēj pieskarties tām daļām, kurā valoda vēl nav tikusi noformulēta vai ieviesta. Kas tu pats esi pēc horoskopa?  Zivs. Ir interesanti domāt, ka mēs visu zemeslodi varam ietilpināt 12 dažādos tipāžos un tad skatīties, kuri ir saderīgāki un kuri nesaderīgāki. Kāpēc lai mēs nespēlētos ar šo ideju? Mūziku teātrim tu esi rakstījis pirmoreiz. Tas tomēr ir ļoti, ļoti atšķirīgi no citiem žanriem, kur tavs personīgais rezultāts ir vairāk prognozējams. Šajā izrādē mūzikas ir ļoti daudz, un zinu arī, ka izrādes labā tev nācās daudz ko upurēt no uzrakstītā. Vai tu to izjūti tieši tā - kā upurēšanu, vai arī vieglu roku vienkārši dari tā, kā nepieciešams, un "nomirsti režisorā"? Varbūt vārds "upurēšana" ir morāli pārāk piesātināts. Patiesība ir daudz vienkāršāka. Un droši vien arī mazāk interesanta. Bet es noteikti jūtu atšķirību. Uzrakstot operu, es pabeidzu darbu, pēc tam ienāk pārējā komanda, un manām notīm vairs neviens nedrīkst pieskarties. Tās ir kļuvušas par faktiem. Kamēr teātrī notis nekad nekļūs par faktiem! Pat pirms pašas pirmizrādes, runājot ar solisti Beāti Zviedri, pēdējā mirklī pāris nošu tika mainītas. Līdz ar to notācijas nozīme šajā procesā ir pilnīgi atšķirīga: tā ir daudz elastīgāka, fleksiblāka, lokanāka. Tāpat struktūra. Tā visa mainās izrādes vajadzību vārdā. Un tas ir interesanti, atsvaidzinoši. Es noteikti to negribētu darīt katru dienu, jo man svarīgi uzturēt līdzsvarā to mūziku, kurā kaut kāda patiesība tiek sasniegta jau gadu pirms atskaņojuma, bet vienlaikus dinamiskā vide, kurā jāatrod jauni risinājumi jau uz nākamo dienu, dod milzīgu grūdienu jaunos virzienos, jaunās vietās, kuras pats sevī es noteikti apzinājos. Neapzinājos vai nebiju uz tām gatavs vai gribošs reaģēt tik ātri. Tagad man ir milzīga pieredze reaģēšanas mākslā... Vai tas nozīmē, ka tas tev palīdzēs, rakstot cita veida mūziku?  Noteikti! Jo tas palīdz arī domāt par to, kas ir saprotams: ne tā, ka es par to nebūtu pirms tam domājis, bet kas ir saprotams cilvēkam, kurš varbūt nemīl skaņu tik ļoti, cik es, kuram ir svarīgs stāsta jēdziens. Man patīk mūzika, kurā mēs aizejam maksimāli tālu no valodas, mēģinām nestāstīt stāstus. Savukārt teātris ir ļoti cieši saistīts ar valodu un stāstiem. [Aktuāls ir jautājums] kā mana mūzika var palīdzēt stāstu stāstīt? Varbūt tā ir daļa no stāsta vai - tieši otrādi - tam pretojas, bet tomēr ir ciešā sasaistē gan ar valodas, gan naratīva jēdzieniem. Vai tā bija režisores ideja, ka Beātei Zviedrei jābūt uz skatuves? Teātra procesā grūti pateikt, no kurienes rodas idejas. Ja mēģinātu šo ģenealoģiju atrast, diezgan ātri nonāktu pie tā, ka nevienam nav ne jausmas, kuram kura ideja pieder, jo tās parādās procesā. (..) Beāte to izdara spoži. Beāte ir fantastiska dziedātāja, un arī šajā izrādē viņa savu lomu nospēlē brīnišķīgi.  Bet ideja par kora klātbūtni – tā gan bija jau pašā sākumā. Jā. Bija ideja par kori, kurš ir kā mirušo pasaule, kas atrodas galvenā tēla galvā, un caur mūziku mēs ienākam varones iekšējā pasaulē. Opermūzikā tā ir pašsaprotama ideja – ka mūzika varētu zināt kaut ko, ko citi tēli nezina vai pat nedzird uz skatuves. Tāpat arī šeit mēs uzzinām kaut ko par galveno tēlu tieši caur to, ka koris mums to stāsta, vēl pirms dažādi notikumi uz skatuves ir notikuši. Šādā ziņā būtu interesanti šo izrādi noskatīties divas vai trīs reizes – kad zinām stāstu līdz galam un redzam, ka daudz kas mums uz skatuves jau tiek pateikts priekšā, pirms mēs to uzzinām tradicionālā naratīva attīstības izpratnē. Mēs nenosaucām koristus: tie ir Valsts akadēmiskā kora "Latvija" dziedātāji Māra Sirmā vadībā. Ieraksts ir ļoti profesionāli veikts, un mūzika ir kā pašvērtība. Varbūt tā būs atskaņojama arī atsevišķi, ja tiks ierakstīta skaņu celiņā? Jā, šeit patiešām tapa ļoti, ļoti daudz mūzikas, kurai vismaz daļēju paredzu dzīvi arī ārpus teātra sienām – gan kā mūziku, ko varam klausīties koncertā, gan kā daļu no izrādes identitātes, ko var atskaņot atsevišķi. Tās pasaule ir plašāka par teātra sienām. (..) Un ir viena skaista tēma – čella tēma, ko spēlē Guna Šnē, kas man bija viens no emocionālākajiem izrādes brīžiem. Finālā vārda tiešā nozīmē notiek iziešana caur uguni un ūdeni. Ir vairākas epizodes, kurās esi izmantojis mūsu tautasdziesmas – atpazīstamas melodijas. Kā tu nonāci pie tām? Laikam iemesls, kāpēc režisore mani uzrunāja, bija tas, ka viņa gribēja, lai šeit būtu kaut kas no latviešu kormūzikas: Olu fascinē mūsu Dziesmu svētku tradīcija. No otras puses – skaidrs, ka viņa mani neizvēlējās tamdēļ, ka esmu tradicionāls kormūzikas komponists. Varbūt viņai šāda ilūzija radās tāpēc, ka viņa redzēja: skatos arī uz mūsu pašu nacionālromantisma tradīcijām. Man bija būtiski, lai tautasdziesmas, ko esmu izmantojis izrādei, runā gan par ekoloģijas tēmām, gan par sievietes lomu sabiedrībā un dzīvē. Ja patiešām ieklausāmies, tajās ir kaut kas ļoti metropolītisks un universāls, pazīstams ārpus mūsu valodas un nacionālās identitātes. Teiksim, dziesma "Caur sidraba birzi gāju, ne zariņa nenolauzu" ir kā 21. gadsimta zaļā kursa himna. Tāpat runājot par identitātes izšķīšanu... Ja mēs dziesmai "Pūt, vējiņi!" atņemam pēdējo daļu, kurā vēstīts par specifisku lokāciju un Kurzemi un paliekam tikai pie idejas par aizdzīšanu – sak', vējš mūs aizdzen projām kā tādus smilšu graudus… Tāda eksistenciāla iziršana, kas delīrija ainā finālā notiek ar galveno tēlu. Šeit man likās būtiski paņemt kaut ko, kas mums visiem ir pazīstams un dārgs, un caur to parādīt un lūgt mums neskatīties uz to viendimensionāli, neļaut to padarīt par labējā spārna kursa identitātes simbolu, neļaut uzurpēt cilvēkiem ar ļauniem nodomiem mūsu kultūras daudzveidību un bagātību, kurā ir arī tēmas, kas mums absolūti nesaistās ar tradicionālu Latvijas kultūru, bet redzēt, ka tajās jau ir iebūvēta atvērtība un daudzveidība, ar kādu vismaz es neasociēju latviešu folkloru. "Pūt, vējiņi!" skats man likās ļoti kinematogrāfisks, raisījās pat zināmas asociācijas ar filmu. Un ar Baibiņu. Ļoti pretēji tēli, un tajā brīdī tu vienalga domā par savām kontekstuālajām sajūtām, kādas tev ir no pagātnes bijušas. Ļoti interesants bija šis izmantojums! Katrā ziņā žanriska un stilistiska daudzveidība tavā mūzikā šai izrādei ir milzīga. Bet tu pieminēji nacionālo identitāti. Vai mēs šobrīd vispār varam runāt par kādām izteiktām mūzikas tendencēm? Vai pasaules mūzikā notiek kādi lielāki procesi? Vai varam runāt par kādiem viļņiem, straumēm un nacionālajām skolām, vai tomēr mūzikas sacerēšana atkarīga no katra indivīda? Kādu laiku mēs par to gandrīz vai vispār nevarējām runāt. Bija ārkārtīgi spēcīga globalizācijas sajūta, mūsu pašu piederība un iederība Eiropas Savienībā un tamlīdzīgās institūcijās, tāpat kā mūsu jaunās paaudzes komponistu darbība citās pasaules skolās. Protams, ka vide, kurās mēs uzturamies, spēlē nozīmīgu lomu, un bieži vien tā formatīvā izglītība, īpaši bakalaura līmenī: tas ir brīdis, kad mūsu smadzenes ir visatvērtākās – tad mēs izmaināmies visvairāk un izveidojam savu arodu. Šādā skatījumā es pats šo laiku pavadīju Nīderlandē, un ļoti daudz kur jūtu, ka manī parādās nīderlandiešu mūsdienu mūzikas tradīcija, kas ir saistīta ar strukturālismu, asiem formas griezumiem, kas patiesībā ir tāda Stravinska tradīcija, ko caur sevi izauklējis Luiss Andrīsens, kļūdams par Nīderlandes muzikālo identitāti vismaz vairāku gadu desmitu garumā.   Un ne jau bez Amerikas ietekmes. Protams! Amerikas ietekme gan nāca vēlāk. Īpašas ir manas attiecības ar nozīmīgākajiem skolotājiem. Piemēram, Deividu Lengu, kuram arī šī pati tradīcija ir tuva un mīļa: tāda ļoti liela atturība mūzikā, ļoti liela pieturēšanās pie ierobežota muzikālā materiāla un mēģinājumi šo muzikālo materiālu izanalizēt līdz galam – kā  tādu telpisku objektu griezt apkārt un ieraudzīt tajā visas iespējamās šķautnes. Tāda veida domāšana man vēl joprojām ir mīļa. Es pats strādāju ar pilnīgi citiem materiāliem: vai tā būtu tautasdziesma, tehnomūzika vai džeza aranžējumi no 60. gadiem. Ar šādu pieeju aicinu klausītājus iedziļināties mūzikas struktūrā, iedziļināties mūzikas uzbūvē, lai mūzika un skaņa nebūtu tikai baudas objekts vai avots, bet arī kas intelektuāli stimulējošs un interesants. 2021. gadā uzvarēji kompozīciju konkursā "Rostrum" ar savu skaņdarbu Are One, kas bija daļa no tavas operas "Tagadnes". Ieguvi pirmo vietu jauno komponistu grupā, un toreiz ar kolēģiem norunājām, ka te ir lieliski sapludināti žanri, nepadarot neko banālu. Tas arī ir viens no taviem paņēmieniem joprojām – sapludināt žanrus. Tagad mēs, domājot par jaunajiem kandidātiem, ko šogad vest uz "Rostrum" konkursu, diezgan vienprātīgi visi nobalsojām par Aleksandra Avrameca skaņdarbu "Ausma" simfoniskajam orķestrim, kas izskanēja Latviešu simfoniskās mūzikas lielkoncertā. Aleksandrs ir tavs audzēknis. Kā tu domā, kādas izredzes viņam ir? Grūti teikt, jo "Rostrums" ir fascinējoša vienība ar to, ka tur katru gadu žūrija mainās un cilvēku gaume arī ir tik daudzveidīga.  Tas viss varbūt iet kopā ar tendenci, ka cilvēki sāk kārot pēc harmoniskākas mūzikas? Tu pieskaries ļoti, ļoti interesantai tēmai, kuru man būs grūti izvērst tik īsā laikā. Aleksandrs ir fantastisks students un tiešām ārkārtīgi smagi, sūri un grūti strādājošs cilvēks, kuram māksla ir vismaz tikpat nozīmīga kā man, ja ne vairāk. Šāda degsme ir ārkārtīgi svarīga. Un tas, manuprāt, ir pirmais solis uz panākumiem – ja cilvēkā ir mīlestība pret arodu, pret mūziku un spēja to izvirzīt par savas dzīves augstāko mērķi – un Aleksandram tāda absolūti piemīt –, tad viss pārējais ir sekundāri. Tālāk jau mūs katru uzmeklē dažādi dzīves eņģeļi, kuri palīdz mūs pabīdīt un aizbīdīt pareizā vietā, pareizā laikā. Bet, ja ir šis iekšējais milzīgais spēks un spēja pārvarēt savu emocionālo nespēju… Tas ir vienīgais šķērslis, kas mums katram ir: kā pārvarēt to, ka mēs esam slinki, vāji, garlaikoti, un pārvērst to par radošu konstruktīvu enerģiju. Aleksandram šī spēja absolūti piemīt. Tas ir vienīgais, ko es varu pateikt par viņa tālākajiem panākumiem.  Un otrs, ko tu piemini – par to mūsdienu kompozīcijas pārveidi. Sāku laikam jau šo stāstu ar to, ka mēs it kā iegājām šajā globalizācijas laikmetā, bet grūti ir pateikt, kur pasaule virzās šobrīd. Ja mēs paskatāmies uz Amerikas politiku, kas vienmēr rādījusi tālāko ceļu uz iekļautību un daudzveidību, tagad par to mums visiem ir milzīgas šaubas, un ir grūti saprast, vai tā ir vienkārši pauze garākā ceļā, vai arī pilnīgi radikāla kursa maiņa. Ja tā, tad varbūt atkal nonāksim pie lielāka protekcionisma un izolācijas, un tad jau šī negatīvā procesa rezultātā sāks vairāk veidoties nacionālās skolas – nevis tāpēc, ka mēs gribēsim, bet tāpēc, ka vienkārši būs mazāk iespēju ceļot un sadarboties. Bet to es neparedzu. Es vienkārši pieļauju to kā iespēju, kas pirms 10 gadiem man likās absolūti nereāla. Tu šobrīd esi Kristus vecumā. Esi par to aizdomājies? Jā, par to es runāju psihoterapijā diezgan daudz. (smejas) Jo pēkšņi skaitļi kļūst nozīmīgi, vecums nāk vēja spārniem un jāsāk domāt par mantojumu un ko tikai vēl ne. Ne tādā ziņā, ka grasītos mirt, bet aizdomājoties par to, ko atstāt aiz sevis. Protams, domāju par Jēzus fascinējošo personību. Vienmēr, kad es iedomājos par šo skaisto cilvēku vai tēlu, par viņa milzīgo nesavtību un bezgalīgo mīlestību pret visu dzīvo, atceros arī viņa vienīgo neiecietību pret to, ka baznīcas priekšā ir izbūvēts tirgus laukums un tur notiek tirgošanās: tas ir tas attēls, ko es redzu – ka tur notiek pārdošana un Jēzus kļūst dusmīgs. Tas ir attēls, ko paturu prātā, jo mākslā jau ir pavisam līdzīgi. Brīžiem mēs atkāpjamies no mākslinieciskajiem ideāliem. Kurā brīdī tas ir, lai pasniegtu roku un palīdzētu komunicēt? Kā izdarīt tā, lai mēs nepazaudētu savus mākslinieciskos ideālus procesos, institūcijās un vietās, kurām ir atbildība pret skatītāju un klausītāju?

"Atsperes" viesis šoreiz ir komponists Krists Auznieks. Viņš ir viens no būtiskākajiem radošās komandas cilvēkiem Olgas Tokarčukas veģetārajā trillerī "Dzen savu arklu pār mirušo kauliem", kam 4. aprīlī aizvadīta pirmizrāde Dailes teātrī. Runājam par komponēšanu, tendencēm un studentiem... Gunda Vaivode: Vakar Dailes teātrī pirmizrādi piedzīvoja poļu rakstnieces un arī Nobela prēmijas laureātes Olgas Tokarčukas veģetārais trilleris "Dzen savu arklu pār mirušo kauliem", kura dramatizējumu veicis Matīss Gricmanis. Tu, Krist, pirmoreiz rakstīji mūziku teātra izrādei. Kad tu iepazinies ar šo darbu? Pirms kāda gada, kad Dailes teātra radošā komanda mani uzrunāja: tad arī diezgan ātri izlasīju to. Tajā laikā tulkojums, manuprāt, vēl neeksistēja, tāpēc lasīju to angļu tulkojumā. Mani uzreiz uzrunāja šī darba tēmas, un man arī bija skaidrs, ka piekritīšu un ka man tas būs gana interesants uzdevums un izaicinājums. Vai vari noformulēt sev, par ko ir šis stāsts? No vienas puses - par taisnīguma izjūtu. Par to, ka ļaunumam ir dažādas sejas. Lugas beigās izrādās, ka galvenā varone ir ļauna - viņa ir slepkava, viņa ir nogalinājusi. Lūk, esmu atklājis izrādes beigas un sabojājis visu skatītāju pieredzi, bet lielais jautājums ir par to, kā un kāpēc sanāk tā, ka cilvēks, kurš ir nogalinājis citus cilvēkus, ir tas, kuram mēs šajā gadījumā gribam piedot vai kuru mēs gribam attaisnot. Varbūt var rasties jautājums, kā mēs rīkotos līdzīgā situācijā? Respektīvi, mēs redzam, ka cilvēki ir ļauni pret citiem, pret citām dzīvām būtnēm, šajā gadījumā - pret dažādiem dzīvniekiem, un šo ļaunumu mēs esam gatavi piedot vai pat attaisnot. Mēs to ikdienā normalizējam, skatoties, kā uz mūsu pannām guļ citu dzīvu būtņu gaļa. Kad Janīna - lugas galvenais tēls - nogalina cilvēkus, mūsos ieslēdzas jau pavisam citas jūtas. Šeit tās mazliet tiek vienlīdzīgotas un mums tiek norādīts uz mūsu pašu domu nekonsekvenci.  Jā, izrādē vairākas reizes izskan jautājums, vai ļaunums obligāti jāsoda. Un atbilde nemaz tik viegli nenāk rokā. Ir jādomā! Jā, šis soda koncepts man nešķiet tik interesants, bet tas, ka šis jautājums liek mums orientēties, ir droši vien ļaunuma definīcija kā tāda. Vai vienu ļaunumu atriebt ar otru, vai tomēr darīt, kā Rainis mums ieteica - tikai ar labu. Sīriešu izcelsmes nīderlandiešu režisora Ola Mafālani tiek uzskatīta par īstu fantāzijas karalieni, un viņas izrādēs ir ļoti poētiskas ainas; tur netrūkst arī humora, un šajā gadījumā - arī kriminālromāna iezīmes. Bet kā jums visiem klājās sapņu komandā, kurā darbojas patiešām izcili mākslinieki - gaismu mākslinieks Alekss Broks, scenogrāfs Germans Ermičs - arī viņam, starp citu, debija teātrī -, horeogrāfe Elīna Gediņa, tērpu mākslinieki "Mareunrol's". Kāda bija sazobe vienam ar otru? Neradās problēmas tik spilgtām individualitātēm? Nē! Tā tiešām bija fantastiska komanda, un tas bija īsts komandas darbs, kurā mēs visi viens ar otru sarunājāmies no gandrīz paša sākuma pirms gada, līdz pat vakardienas pirmizrādei. Šajā gadījumā tas, ka šie mākslinieki ir tik daudzveidīgi, spilgti un arī griboši sadarboties, un viņi nevis svinēja savu ego, bet mēģināja kalpot idejai un sadoties rokās - tas viss palīdzēja nonākt pie darba, kas katram no mums šķiet vienlīdz nozīmīgs un vienlaikus arī daudz lielāks par katru no mums. Šajā lugā nereti tiek piesaukta arī astroloģija. Vai tev ar astroloģiju ir kādas īpašas attiecības? Lasi horoskopus? Par īpašām attiecībām es tās noteikti nesauktu. Man gribas cerēt un ticēt, un ir interesanti flirtēt ar ideju, ka kaut kur gaisā kādas nojausmas stāv laikam priekšā - ka mēs kaut ko varam nojaust par nākotni. Tuvāka man šķiet ideja, kas pausta grāmatā "Troksnis". Tā ir astoņdesmitajos gados rakstīta, un tās autors, kas ir mūzikas sociologs, piedāvā ideju, ka mūzika, kas tiek rakstīta kādā noteiktā laikā, paredz sociālus, politiskus un ekonomiskus procesus, kas vēl tikai notiks un nāks. Viņš šeit apskatījis mūziku no Lielās franču revolūcijas laika, pēc tam arī romantisma mūziku, un pēc tam arī 20. gadsimta mūziku. Un šādā ziņā mūzikai vairāk nekā jebkurai citai darbībai piemīt spēja pareģot nākotni. Mūzika, protams, neoperē verbāli, bet tā spēj pieskarties tām daļām, kurā valoda vēl nav tikusi noformulēta vai ieviesta. Kas tu pats esi pēc horoskopa?  Zivs. Ir interesanti domāt, ka mēs visu zemeslodi varam ietilpināt 12 dažādos tipāžos un tad skatīties, kuri ir saderīgāki un kuri nesaderīgāki. Kāpēc lai mēs nespēlētos ar šo ideju? Mūziku teātrim tu esi rakstījis pirmoreiz. Tas tomēr ir ļoti, ļoti atšķirīgi no citiem žanriem, kur tavs personīgais rezultāts ir vairāk prognozējams. Šajā izrādē mūzikas ir ļoti daudz, un zinu arī, ka izrādes labā tev nācās daudz ko upurēt no uzrakstītā. Vai tu to izjūti tieši tā - kā upurēšanu, vai arī vieglu roku vienkārši dari tā, kā nepieciešams, un "nomirsti režisorā"? Varbūt vārds "upurēšana" ir morāli pārāk piesātināts. Patiesība ir daudz vienkāršāka. Un droši vien arī mazāk interesanta. Bet es noteikti jūtu atšķirību. Uzrakstot operu, es pabeidzu darbu, pēc tam ienāk pārējā komanda, un manām notīm vairs neviens nedrīkst pieskarties. Tās ir kļuvušas par faktiem. Kamēr teātrī notis nekad nekļūs par faktiem! Pat pirms pašas pirmizrādes, runājot ar solisti Beāti Zviedri, pēdējā mirklī pāris nošu tika mainītas. Līdz ar to notācijas nozīme šajā procesā ir pilnīgi atšķirīga: tā ir daudz elastīgāka, fleksiblāka, lokanāka. Tāpat struktūra. Tā visa mainās izrādes vajadzību vārdā. Un tas ir interesanti, atsvaidzinoši. Es noteikti to negribētu darīt katru dienu, jo man svarīgi uzturēt līdzsvarā to mūziku, kurā kaut kāda patiesība tiek sasniegta jau gadu pirms atskaņojuma, bet vienlaikus dinamiskā vide, kurā jāatrod jauni risinājumi jau uz nākamo dienu, dod milzīgu grūdienu jaunos virzienos, jaunās vietās, kuras pats sevī es noteikti apzinājos. Neapzinājos vai nebiju uz tām gatavs vai gribošs reaģēt tik ātri. Tagad man ir milzīga pieredze reaģēšanas mākslā... Vai tas nozīmē, ka tas tev palīdzēs, rakstot cita veida mūziku?  Noteikti! Jo tas palīdz arī domāt par to, kas ir saprotams: ne tā, ka es par to nebūtu pirms tam domājis, bet kas ir saprotams cilvēkam, kurš varbūt nemīl skaņu tik ļoti, cik es, kuram ir svarīgs stāsta jēdziens. Man patīk mūzika, kurā mēs aizejam maksimāli tālu no valodas, mēģinām nestāstīt stāstus. Savukārt teātris ir ļoti cieši saistīts ar valodu un stāstiem. [Aktuāls ir jautājums] kā mana mūzika var palīdzēt stāstu stāstīt? Varbūt tā ir daļa no stāsta vai - tieši otrādi - tam pretojas, bet tomēr ir ciešā sasaistē gan ar valodas, gan naratīva jēdzieniem. Vai tā bija režisores ideja, ka Beātei Zviedrei jābūt uz skatuves? Teātra procesā grūti pateikt, no kurienes rodas idejas. Ja mēģinātu šo ģenealoģiju atrast, diezgan ātri nonāktu pie tā, ka nevienam nav ne jausmas, kuram kura ideja pieder, jo tās parādās procesā. (..) Beāte to izdara spoži. Beāte ir fantastiska dziedātāja, un arī šajā izrādē viņa savu lomu nospēlē brīnišķīgi.  Bet ideja par kora klātbūtni – tā gan bija jau pašā sākumā. Jā. Bija ideja par kori, kurš ir kā mirušo pasaule, kas atrodas galvenā tēla galvā, un caur mūziku mēs ienākam varones iekšējā pasaulē. Opermūzikā tā ir pašsaprotama ideja – ka mūzika varētu zināt kaut ko, ko citi tēli nezina vai pat nedzird uz skatuves. Tāpat arī šeit mēs uzzinām kaut ko par galveno tēlu tieši caur to, ka koris mums to stāsta, vēl pirms dažādi notikumi uz skatuves ir notikuši. Šādā ziņā būtu interesanti šo izrādi noskatīties divas vai trīs reizes – kad zinām stāstu līdz galam un redzam, ka daudz kas mums uz skatuves jau tiek pateikts priekšā, pirms mēs to uzzinām tradicionālā naratīva attīstības izpratnē. Mēs nenosaucām koristus: tie ir Valsts akadēmiskā kora "Latvija" dziedātāji Māra Sirmā vadībā. Ieraksts ir ļoti profesionāli veikts, un mūzika ir kā pašvērtība. Varbūt tā būs atskaņojama arī atsevišķi, ja tiks ierakstīta skaņu celiņā? Jā, šeit patiešām tapa ļoti, ļoti daudz mūzikas, kurai vismaz daļēju paredzu dzīvi arī ārpus teātra sienām – gan kā mūziku, ko varam klausīties koncertā, gan kā daļu no izrādes identitātes, ko var atskaņot atsevišķi. Tās pasaule ir plašāka par teātra sienām. (..) Un ir viena skaista tēma – čella tēma, ko spēlē Guna Šnē, kas man bija viens no emocionālākajiem izrādes brīžiem. Finālā vārda tiešā nozīmē notiek iziešana caur uguni un ūdeni. Ir vairākas epizodes, kurās esi izmantojis mūsu tautasdziesmas – atpazīstamas melodijas. Kā tu nonāci pie tām? Laikam iemesls, kāpēc režisore mani uzrunāja, bija tas, ka viņa gribēja, lai šeit būtu kaut kas no latviešu kormūzikas: Olu fascinē mūsu Dziesmu svētku tradīcija. No otras puses – skaidrs, ka viņa mani neizvēlējās tamdēļ, ka esmu tradicionāls kormūzikas komponists. Varbūt viņai šāda ilūzija radās tāpēc, ka viņa redzēja: skatos arī uz mūsu pašu nacionālromantisma tradīcijām. Man bija būtiski, lai tautasdziesmas, ko esmu izmantojis izrādei, runā gan par ekoloģijas tēmām, gan par sievietes lomu sabiedrībā un dzīvē. Ja patiešām ieklausāmies, tajās ir kaut kas ļoti metropolītisks un universāls, pazīstams ārpus mūsu valodas un nacionālās identitātes. Teiksim, dziesma "Caur sidraba birzi gāju, ne zariņa nenolauzu" ir kā 21. gadsimta zaļā kursa himna. Tāpat runājot par identitātes izšķīšanu... Ja mēs dziesmai "Pūt, vējiņi!" atņemam pēdējo daļu, kurā vēstīts par specifisku lokāciju un Kurzemi un paliekam tikai pie idejas par aizdzīšanu – sak', vējš mūs aizdzen projām kā tādus smilšu graudus… Tāda eksistenciāla iziršana, kas delīrija ainā finālā notiek ar galveno tēlu. Šeit man likās būtiski paņemt kaut ko, kas mums visiem ir pazīstams un dārgs, un caur to parādīt un lūgt mums neskatīties uz to viendimensionāli, neļaut to padarīt par labējā spārna kursa identitātes simbolu, neļaut uzurpēt cilvēkiem ar ļauniem nodomiem mūsu kultūras daudzveidību un bagātību, kurā ir arī tēmas, kas mums absolūti nesaistās ar tradicionālu Latvijas kultūru, bet redzēt, ka tajās jau ir iebūvēta atvērtība un daudzveidība, ar kādu vismaz es neasociēju latviešu folkloru. "Pūt, vējiņi!" skats man likās ļoti kinematogrāfisks, raisījās pat zināmas asociācijas ar filmu. Un ar Baibiņu. Ļoti pretēji tēli, un tajā brīdī tu vienalga domā par savām kontekstuālajām sajūtām, kādas tev ir no pagātnes bijušas. Ļoti interesants bija šis izmantojums! Katrā ziņā žanriska un stilistiska daudzveidība tavā mūzikā šai izrādei ir milzīga. Bet tu pieminēji nacionālo identitāti. Vai mēs šobrīd vispār varam runāt par kādām izteiktām mūzikas tendencēm? Vai pasaules mūzikā notiek kādi lielāki procesi? Vai varam runāt par kādiem viļņiem, straumēm un nacionālajām skolām, vai tomēr mūzikas sacerēšana atkarīga no katra indivīda? Kādu laiku mēs par to gandrīz vai vispār nevarējām runāt. Bija ārkārtīgi spēcīga globalizācijas sajūta, mūsu pašu piederība un iederība Eiropas Savienībā un tamlīdzīgās institūcijās, tāpat kā mūsu jaunās paaudzes komponistu darbība citās pasaules skolās. Protams, ka vide, kurās mēs uzturamies, spēlē nozīmīgu lomu, un bieži vien tā formatīvā izglītība, īpaši bakalaura līmenī: tas ir brīdis, kad mūsu smadzenes ir visatvērtākās – tad mēs izmaināmies visvairāk un izveidojam savu arodu. Šādā skatījumā es pats šo laiku pavadīju Nīderlandē, un ļoti daudz kur jūtu, ka manī parādās nīderlandiešu mūsdienu mūzikas tradīcija, kas ir saistīta ar strukturālismu, asiem formas griezumiem, kas patiesībā ir tāda Stravinska tradīcija, ko caur sevi izauklējis Luiss Andrīsens, kļūdams par Nīderlandes muzikālo identitāti vismaz vairāku gadu desmitu garumā.   Un ne jau bez Amerikas ietekmes. Protams! Amerikas ietekme gan nāca vēlāk. Īpašas ir manas attiecības ar nozīmīgākajiem skolotājiem. Piemēram, Deividu Lengu, kuram arī šī pati tradīcija ir tuva un mīļa: tāda ļoti liela atturība mūzikā, ļoti liela pieturēšanās pie ierobežota muzikālā materiāla un mēģinājumi šo muzikālo materiālu izanalizēt līdz galam – kā  tādu telpisku objektu griezt apkārt un ieraudzīt tajā visas iespējamās šķautnes. Tāda veida domāšana man vēl joprojām ir mīļa. Es pats strādāju ar pilnīgi citiem materiāliem: vai tā būtu tautasdziesma, tehnomūzika vai džeza aranžējumi no 60. gadiem. Ar šādu pieeju aicinu klausītājus iedziļināties mūzikas struktūrā, iedziļināties mūzikas uzbūvē, lai mūzika un skaņa nebūtu tikai baudas objekts vai avots, bet arī kas intelektuāli stimulējošs un interesants. 2021. gadā uzvarēji kompozīciju konkursā "Rostrum" ar savu skaņdarbu Are One, kas bija daļa no tavas operas "Tagadnes". Ieguvi pirmo vietu jauno komponistu grupā, un toreiz ar kolēģiem norunājām, ka te ir lieliski sapludināti žanri, nepadarot neko banālu. Tas arī ir viens no taviem paņēmieniem joprojām – sapludināt žanrus. Tagad mēs, domājot par jaunajiem kandidātiem, ko šogad vest uz "Rostrum" konkursu, diezgan vienprātīgi visi nobalsojām par Aleksandra Avrameca skaņdarbu "Ausma" simfoniskajam orķestrim, kas izskanēja Latviešu simfoniskās mūzikas lielkoncertā. Aleksandrs ir tavs audzēknis. Kā tu domā, kādas izredzes viņam ir? Grūti teikt, jo "Rostrums" ir fascinējoša vienība ar to, ka tur katru gadu žūrija mainās un cilvēku gaume arī ir tik daudzveidīga.  Tas viss varbūt iet kopā ar tendenci, ka cilvēki sāk kārot pēc harmoniskākas mūzikas? Tu pieskaries ļoti, ļoti interesantai tēmai, kuru man būs grūti izvērst tik īsā laikā. Aleksandrs ir fantastisks students un tiešām ārkārtīgi smagi, sūri un grūti strādājošs cilvēks, kuram māksla ir vismaz tikpat nozīmīga kā man, ja ne vairāk. Šāda degsme ir ārkārtīgi svarīga. Un tas, manuprāt, ir pirmais solis uz panākumiem – ja cilvēkā ir mīlestība pret arodu, pret mūziku un spēja to izvirzīt par savas dzīves augstāko mērķi – un Aleksandram tāda absolūti piemīt –, tad viss pārējais ir sekundāri. Tālāk jau mūs katru uzmeklē dažādi dzīves eņģeļi, kuri palīdz mūs pabīdīt un aizbīdīt pareizā vietā, pareizā laikā. Bet, ja ir šis iekšējais milzīgais spēks un spēja pārvarēt savu emocionālo nespēju… Tas ir vienīgais šķērslis, kas mums katram ir: kā pārvarēt to, ka mēs esam slinki, vāji, garlaikoti, un pārvērst to par radošu konstruktīvu enerģiju. Aleksandram šī spēja absolūti piemīt. Tas ir vienīgais, ko es varu pateikt par viņa tālākajiem panākumiem.  Un otrs, ko tu piemini – par to mūsdienu kompozīcijas pārveidi. Sāku laikam jau šo stāstu ar to, ka mēs it kā iegājām šajā globalizācijas laikmetā, bet grūti ir pateikt, kur pasaule virzās šobrīd. Ja mēs paskatāmies uz Amerikas politiku, kas vienmēr rādījusi tālāko ceļu uz iekļautību un daudzveidību, tagad par to mums visiem ir milzīgas šaubas, un ir grūti saprast, vai tā ir vienkārši pauze garākā ceļā, vai arī pilnīgi radikāla kursa maiņa. Ja tā, tad varbūt atkal nonāksim pie lielāka protekcionisma un izolācijas, un tad jau šī negatīvā procesa rezultātā sāks vairāk veidoties nacionālās skolas – nevis tāpēc, ka mēs gribēsim, bet tāpēc, ka vienkārši būs mazāk iespēju ceļot un sadarboties. Bet to es neparedzu. Es vienkārši pieļauju to kā iespēju, kas pirms 10 gadiem man likās absolūti nereāla. Tu šobrīd esi Kristus vecumā. Esi par to aizdomājies? Jā, par to es runāju psihoterapijā diezgan daudz. (smejas) Jo pēkšņi skaitļi kļūst nozīmīgi, vecums nāk vēja spārniem un jāsāk domāt par mantojumu un ko tikai vēl ne. Ne tādā ziņā, ka grasītos mirt, bet aizdomājoties par to, ko atstāt aiz sevis. Protams, domāju par Jēzus fascinējošo personību. Vienmēr, kad es iedomājos par šo skaisto cilvēku vai tēlu, par viņa milzīgo nesavtību un bezgalīgo mīlestību pret visu dzīvo, atceros arī viņa vienīgo neiecietību pret to, ka baznīcas priekšā ir izbūvēts tirgus laukums un tur notiek tirgošanās: tas ir tas attēls, ko es redzu – ka tur notiek pārdošana un Jēzus kļūst dusmīgs. Tas ir attēls, ko paturu prātā, jo mākslā jau ir pavisam līdzīgi. Brīžiem mēs atkāpjamies no mākslinieciskajiem ideāliem. Kurā brīdī tas ir, lai pasniegtu roku un palīdzētu komunicēt? Kā izdarīt tā, lai mēs nepazaudētu savus mākslinieciskos ideālus procesos, institūcijās un vietās, kurām ir atbildība pret skatītāju un klausītāju?

13.-17. maini toimus Vilniuses 70. rahvusvaheline heliloojate rostrum. Eetris on kokkuvõtted ja võiduteosed.

Šiandien Vilniaus miesto apylinkės teismui atmetus buvusios Senojo teatro direktorės Olgos Polevikovos skundą dėl galimai neskaidraus įstaigos vadovo konkurso, vadovauti teatrui penkerių metų kadencijai paskirtas Audronis Imbrasas. Situaciją aptariame su Olga Polevikova, Audroniu Imbrasu ir Kultūros ministru Simonu Kairiu.Kauno arkos bendruomenės socialinėse dirbtuvėse jau kelerius metus kvepia moliu. Žmonės su intelekto negalia čia vadinami bičiuliais – keramikos studijoje gamina puodelius, lėkštes, dubenėlius, desertines lėkštutes, salotines, cukrines ir kitus gaminius. Iš šiose dirbtuvėse pagaminto puodelio arbatą geria ir Lietuvos prezidentas.Pasibaigė pirmą kartą Lietuvoje organizuota Tarptautinė kompozitorių tribūna „Rostrum“. Įspūdžiai iš tribūnos ir pokalbiai su Rostrume dalyvavusiais radijo prodiuseriais, kuriuose atsiveria muzikos ir politinio aktyvizmo santykio aktualumas XXI a. politinėje realybėje.„Pavardė, aišku, įpareigoja“, – sako vienos garsiausių Lietuvos diplomatų Lozoraičių dinastijos atstovė Daina Lozoraitis, atvykusi į Lietuvą parodos „Lozoraičių Lietuva: kai asmeniška tampa politiška“ proga. Rubrikoje „Be kaukių“ – apie išskirtines jos senelių ir tėvų asmenybes, pirmąją viešnagę Lietuvoje ir įpareigojančią pavardę.Ved. Rasa Murauskaitė-Juškienė

Starptautiskajam komponistu konkursam "Rostrum", ko rīko Starptautiskā Mūzikas padome (International Music Council) un UNESCO, šogad rit 70. jubilejas gadskārta. Konkurss un konference norisinājās Viļņā no 13. līdz 17.maijam, un tajā piedalījās radio pārstāvji no Eiropas, Meksikas, Honkongas un Argentīnas. Darbi tika vērtēti divās kategorijās – galvenajā un jauno komponistu kategorijā – komponisti līdz 30 gadu vecumam. Latviju pārliecinoši pārstāvēja Annas Fišeres opuss "Hesychia" lielam ansamblim un Platona Buravicka "Spark" kamerorķestrim, Annijas Annas Zariņas "Say Only a Word" ierindots labāko darbu pieciniekā jauno komponistu kategorijā. "Pa ceļam ar klasiku" intervijas laikā sazināmies ar mūsu kolēģi Annu Veismani Viļņā, kura arī klausījās konkursa darbus un piedalījās konferencē un diskusijās. Augstāko novērtējumu galvenajā kategorijā saņēma Polijas komponists Rafals Riterskis (Ryterski) par darbu "Totentanz" kontrtenoram, simfoniskajam orķestrim un elektronikai. Jauno komponistu kategorijā līdz 30 gadu vecumam uzvarēja komponists no Nīderlandes Tomass van Duns (van Dun) ar simfonisku opusu "Rocaillies de l'apres-vie". Balva galvenajā kategorijā ir jaundarba pasūtījums Norlandes Operas Simfoniskajam orkestrim (Norrlandoperan Symphony Opera), jauno komponistu kategorijas uzvarētājs saņems stipendiju, ko nodrošina IMC un Portugāles sabiedriskais medijs RTP-Radio Television Portugal. Labāko desmitniekā ir darbi no Austrijas, Francijas, Čehijas, Igaunijas, Norvēģijas, Serbijas, Somijas un Šveices. Jauno komponistu piecu rekomendējamo darbu sarakstā ir komponisti no Latvijas, Igaunijas, Honkongas, Nīderlandes un Portugāles. 2023. gada "Rostrum" piedāvātie darbi raidīti vairāk nekā 600 reižu, tostarp arī Andra Dzenīša "Credo" (raidīts 12 reizes) un Alises Rancānes “Ars Magna”(raidīts astoņas reizes).

Täna lõpeb Vilniuses rahvusvaheline 70.

Godalni kvartet Szymanowskega in klarinetist Kevin Spagnolo pa z virtuoznim nastopom prepričala mariborsko občinstvo. V Vilni poteka 70. mednarodna skladateljska tribuna Rostrum, napovedujemo tudi 29. Jazz festival Cerkno in 8. mednarodno tekmovanje Oskarja Riedinga, ki je letos namenjeno mladim glasbenikom skladateljem.

Sel nädalal toimub Vilniuses 70.

Uro in dvajset minut dolga opera Kit na plaži je sodobna pripoved o inteligentni in kljubovalni najstnici Niki, ki se sooča z značilnimi težavami: ljubezenskimi izzivi, šolskimi obveznostmi in napetostmi v domači hiši. Ima pa še en poseben izziv, bratca Igorja z downovim sindromom. Opero režira Vinko Möderndorfer, nastala pa je prav po njegovem romanu. Premiera bo v kulturnem centru Janeza Trdine v Novem mestu. Naša téma pa je še 70. mednarodna skladateljska tribuna Rostrum, tradicionalni forum in hkrati tekmovanje del sodobnih skladateljev, ki se odvija v litovski prestolnici Vilni.

Spaudos apžvalga.Rūtos Dambravaitės parengta pasaulio kultūros įvykių apžvalga.Literatūrologė Dovilė Kuzminskaitė su poete Marija Mažule kalbasi apie tai, kodėl moterų literatūrai tokie svarbūs tarpusavio santykiai, ir kodėl jautrumas ir tamsa nebūtinai yra blogai.70-oji tarptautinė kompozitorių tribūna „Rostrum“ vyks gegužės 14-17 dienomis Vilniuje. Tai pirmasis kartas kai forumas organizuojamas Lietuvoje.Praėjusią savaitę buvo paskelbti Lietuvos kompozitorių 2023 metų kūrinių rinkimų nugalėtojai. Išdalintos šešios premijos, kurios atiteko penkiems talentingiems dabarties kūrėjams.Kaune vykusiame japonų kultūrai dedikuotame festivalyje „Japonijos dienos Kaune WA”, lankėsi „Kawaii” mados karaliumi tituluojamas japonų dizaineris Sebastian Masuda.Nuo praėjusios savaitės Lietuvoje lankosi ir paskaitas skaito Velzlio koledžo Bostone docentė Evelina Gužauskytė.Domanto Razausko muzikinės naujienos.Ved. Justė Luščinskytė

Divos festivāla "Latvijas Jaunās mūzikas dienas" koncertos izskanēs Šveicē dzīvojošās Asijas Ahmetžanovas darbi. Asija ir eksperimentālas un laikmetīgas mūzikas komponiste, kā arī pianiste ar klasisku un laikmetīgu repertuāru. Viņa dzimusi Rīgā, mācījusies Emīla Dārziņa mūzikas vidusskolā, klavierspēli pie Ilzes Treijas un Leldes Paulas, kompozīciju pie Imanta Zemzara. Studijas turpināja Tallinā un Lucernā. Pašlaik Asija dzīvo Cīrihē, strādā kā komponiste un pianiste, ir ansambļa ö! dalībniece, kā arī Lucernas Mūzikas augstskolas mācībspēks. 2023. gadā viņa saņēma "Phoenix Trabant: Biennial Composition Competition" balvu un viņas skaņdarbs orķestrim "apres le chant" pārstāvēja Šveici un  tika iekļauts ieteikto darbu sarakstā Starptautiskajā komponistu konkursā ROSTRUM. Sarunā ar Ievu Zeidmani - par jaundarbu "K-liegt", ko 10. maijā pirmatskaņos Helēna Sorokina. Par darba tapšas procesu, eksperimentiem un risku, un sadarbību ar Helēnu, par kuru Asija saka: "Viņa var visu!". Savukārt 11.maijā Lielajā ģildē pirmatskaņojumu Latvijā piedzīvos Asijas kompozīcija "Après le chant". Komponistei liels prieks, ka šis darbs ne vien atskaņots Šveicē, bet būs dzirdams arī Latvijā. Asija Ahmetžanova: "Reizēm rakstām skaņdarbus nezinot, kas būs izpildītājs, bet man vairāk patīk strādāt, kad tiešām zinu, kas tas būs par ansambli, solistu vai orķestri, jo tad rakstu tieši šiem cilvēkiem. Ar Helēnu bija ļoti līdzīgi. Man ļoti patīk balss, un man ļoti patīk Helēnas balss. Es teiktu, ka viņa šobrīd ir vismaz Eiropas, bet, man liekas, jau pasaules zvaigzne tajā, ko viņa dara. Viss, ko viņa dara, ir fantastiski un brīnišķīgi. Kad viņa piedāvāja sadarbīboties, uzreiz zināju, ka gribu eksperimentēt, gribu riskēt, gribu visu ko mēģināt, jo viņa var visu, līdz ar to mums radās doma veidot kaut ko pavisam jaunu, veidot sadarbību caur skaņdarbu, komunicēt vienai ar otru ar šo skaņdarbu. Mēs kopā izvēlējāmies, ka šī būs videopartitūra. Jūs varat iedomāties - viņai priekšā ir video ar krāsām, ik pa laikam parādās klasiskā notācija, ik pa laikam ir tekstūras, varbūt ūdens, zīmējumi, signāli, un ar to visu viņa veido šo kompozīciju. No sākuma man likās, es šādi nevarēšu nokomunicēt savas domas, vai ne? Tas ir ļoti līdzīgi abstraktai kompozīcijai. Mums process bija diezgan ilgs, jo mēģinājām saprast, kas ir mana estētika, kas ir Helēnas estētika, kas mūs abas uzrunā, kas mums abām patīk tādā ziņā, ka mēs jūtamies kā mēs pašas. Es ierakstīju viņas balsi, lūdzu izmēģināt dziedāt, domājot par dažādām bildēm, dažādām dabas parādībām, un no tā visa secināju, ka šis materiāls šādi ietekmē viņas balsi, līdz ar to varēju video sagatavot, vairāk vai mazāk zinot, kā viņa reaģēs uz to, ko viņa redzēs notīs. Es viņai vispirms aizsūtīju, šķiet, minūti ar maniem abstraktiem zīmējumiem, tekstiem, dažādām krāsām. Man bija priekšstats, kā es to dziedātu. Es neesmu dziedātāja, bet mēģinu. Taču daudz ko varu izmēģināt arī ar savu balsi, vai ne? Tas tomēr ir mūsu vienīgais instruments, ko nesam līdzi. Viņa man atsūtīja savu ierakstu, un tas bija ļoti tuvu tam, kā es iedomājos. Tajā brīdī sapratu - tik labi, ka mums bija iespēja visu izmēģināt jau pusotru gadu iepriekš un iepazīt to kopīgo pasauli, kā mēs varam komunicēt citādi nekā ar notīm, klasisko partitūru vai valodu, tekstiem. Šis ir ļoti liels eksperiments, ļoti liels risks, bet mēs abas esam ļoti laimīgas izmēģināt kaut ko tādu un iemācīties daudz no šīs pieredzes, izbaudīt to jauno veidu, kā mēs varam strādāt kopā."

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more.  About Nate: Nate Sirotta has been working in music publicity & marketing for 12 years. He currently runs Impulse Artists, a boutique PR, marketing, & consulting agency launched in 2012. Throughout his career, Nate has engaged in over 500 artist campaigns and worked alongside all 3 major label umbrellas, including a two-year in-house consulting stint with UMG from 2016-2018. Nate has also represented independent distributors like AWAL, Symphonic, and Vydia, and many independent labels like Verswire, Ultra, Rostrum, Tooth & Nail, FiXT, and Nettwerk. Career highlights include client placements at Rolling Stone, Billboard, NME, MTV, Nylon, Paper Magazine, Alternative Press, PopSugar, American Songwriter + many others, and brand + app collaborations with Journeys, Uber, Vox/Korg, Shazam, Spotify, and Snapchat. 

Story from Panama

Hosted by Grant Bather, alongside Nick Seymour, Editorial Director at Rostrum, the latest episode focuses on the internal comms pressures and processes around navigating a negative reputational event.Throughout the conversation Nick and Grant turn to the importance of a plan and the need to engage with all stakeholders with a clear consistent message and approach. They also look at different content avenues during a crisis, including emails, podcasts, social media posts and more.The episode brings to light the importance of vigilance and training in maintaining a clear narrative around crises and negative reputational events. Grant Bather, Director of Reputation at Rostrum said: “Internal communications is a key function for many organisations, but in a crisis can be overlooked. In this episode we look to shape the narrative, promoting an internal comms function that is trained and ready should a crisis hit. We hope that this episode helps to guide organisations as they tackle their crisis communications strategy.”

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more.  About Nicole: Nicole Plantin was most recently General Manager of award winning television and film producer and director Kenya Barris' joint label venture Khalabo Music/Interscope. Previously she was head of A&R at Rostrum Records, an independent label born in Pittsburgh and known for launching the careers of both Wiz Khalifa and the late Mac Miller. While an undergraduate student at NYU, Plantin cut her teeth in the industry as an intern in the A&R admin department at Elektra Records, then helmed by Sylvia Rhone and whose roster included Busta Rhymes, Missy Elliott and Ol' Dirty Bastard. Nicole's professional journey crystallized at Star Trak in 2001, where she joined president and CEO Rob Walker in managing the day-to-day operations of a label partnership with Arista Records, as well as the management needs of artists and producers like The Neptunes and Kelis. As the A&R coordinator for all of the label's releases, Plantin is credited on notable projects such as Clipse's ‘Hell Hath No Fury', Kelis's ‘Tasty', N*E*R*D's ‘Fly Or Die', and more. Following five successful years at Star Trak, Nicole was enlisted by super producer Rich Harrison to help launch his joint venture with Atlantic/Richcraft Records. Shortly after the label folded, Nicole was offered a role at BMI as the Director of Writer/Publisher Relations in Los Angeles, where she was responsible for discovering new talent such as Jhene Aiko, Schoolboy Q, Nipsey Hussle, Joey Bada$$, T-Minus (Nicki Minaj, Drake), Illangelo (The Wknd) and more, and signing them to their roster—a position that reflects one of the most important parts of her career. As a multidimensional executive with both a flair for tastemaking and a mastery of the business of the music industry, Plantin “connects the dots” in ways that align nurturing artist's creative talents with the promise of success. While at BMI, Plantin brought a much-needed showcase to the west coast with Next Fresh Thing, a series whose stage was graced by L.A.-based artistsMiguel, Dom Kennedy, Big Sean, Priscilla Rhenea (now Muni Long) among others. After five years at BMI, Nicole returned to working on the label side of the business with the desire to work more intimately with artists and their projects. As VP of A&R at Rostrum, Nicole worked alongside President and founder, Benjy Grinberg to oversee the curation and growth of the label as it entered into its next phase. While there, she took on the projects of existing artists Mod Sun and Vali (now Emotional Oranges), and signed a variety of talent reflective of the many diverse sounds emerging from regions throughout the US and the UK. Her signings included DC rapper Inannet James who was deemed “one of the best new talents in hip-hop” and whose album Keep it Clean “one of best projects, front to back of the year” by the lifestyle publication Hypebeast. Other signings included UK R&B singer-songwriter Taliwhoah, DC rapper Kelow Latesha, Atlanta based multi hyphenate Natalie Lauren and Baton Rouge rapper Caleb Brown. Nicole sits on the board of the Recording Academy. In her spare time, Nicole volunteers as a Grammy NEXT and Next Gen Femme mentor, travels and collects art. Nicole is also the creator and host of the podcast Soeur Lab which highlights creative womxn who drive culture and set trends from behind the scenes.

Tian'anmen Rostrum, a symbol of the nation, reopened to the public on Tuesday after undergoing several years of renovation, according to its management authority.天安门城楼管理部门表示，经过数年的修缮，天安门城楼于6月13日（星期二）恢复对外开放。Tian'anmen was the principal entryway into the Imperial Palace during the Ming and Qing dynasties spanning from the early 15th century to the early 20th century.在15世纪初至20世纪初的明清时期，天安门是进入故宫的主要入口。Many historic events were held at the gate, including the founding ceremony of the People's Republic of China on Oct 1,1949.天安门见证了许多历史事件，包括1949年10月1日的中华人民共和国开国大典。According to the WeChat account of the management authority of Tian'anmen Rostrum, people can make reservations to visit through its website or WeChat account at least one day in advance.“天安门城楼参观预约”微信公众号显示，市民游客须提前一天通过官方网站或微信公众号预约参观。There are no on-site tickets available and the authority has not authorized any third-party institutions or individuals to act as ticket agents.目前没有设置现场售票，也未授权任何第三方机构或个人代理门票业务。Enthusiasm for visiting the rostrum from the public is high, with the website showing that tickets from Tuesday to Sunday have already sold out. Tickets starting from next Tuesday have not been released yet.市民游客参观天安门城楼的热情高。，网站显示，本周门票全部约满，下周二起的门票尚未开放预约。"I am more than excited to hear the news," said Xu Xiaohan, a senior university student studying in Beijing. "As a student from another province, I have always wanted to see the remarkable scenery of Beijing from the rostrum."一名北京的大四学生徐晓涵(音译)说：“听到天安门城楼开放参观的消息后，我非常兴奋。作为一名外省的学生，我一直想在天安门城楼上欣赏北京的风景。”Li Xiaoli, a 62-year-old resident in Beijing, who comes from Shanxi province, said she will ask her son to make a reservation for her to go to the rostrum.来自山西的62岁北京居民李晓丽(音译)表示，她会让儿子帮她预约，让她登上城楼。"I have learned about it from our Chinese textbooks from when we were little kids. It has always been my wish to feel the history and glory of our country by standing there," she said.李晓丽说：“我小时候就在语文课本上就了解了天安门城楼，我一直希望能登上城楼感受我们国家的历史和辉煌。”The opening of Tian'anmen Rostrum provides a chance for people to have a deeper understanding of the city and its history.天安门城楼的开放为民众提供了深入了解北京及其历史的机会。After Chairman Mao Zedong announced the founding of the People's Republic of China on Oct 1, 1949, from the Tian'anmen Rostrum, the site only opened its doors for important national events, such as receiving distinguished foreign guests, until 1988 when it was officially opened to the public.1949年10月1日，毛泽东主席在天安门讲台上宣布成立中华人民共和国，此后的几十年间，天安门城楼仅在举行重要国事活动时开放，用于接待外国贵宾。直至1988年，天安门城楼才正式向公众开放。At the beginning, the price for entry was 10 yuan ($1.40) for domestic visitors. The price was not low at that time, but more than 600,000 visits were recorded in 1988 alone, according to a report in China Today magazine.开放初期，国内游客的门票是10元(1.40美元)。据《今日中国》报道，10元的票价在当年并不便宜，但仅在1988年就有60多万人次参观。Tian'anmen Rostrum has been closed to the public since June 2018 for maintenance and construction work.2018年6月，天安门城楼启动修缮，停止向公众开放。Another cultural relic, the Drum Tower and Bell Tower, will reopen to the public starting onThursday, announced its management authority on Monday.北京市钟鼓楼文物保管所12日宣布，钟鼓楼将于2023年6月15日（星期四）起恢复对外开放。Lying on the central axis of the capital, the Drum Tower and Bell Tower were built in 1272 and rebuilt twice after fires. At one period in history, they were the time-telling center of the city during the Yuan, Ming and Qing dynasties (1271-1911).位于首都中轴线的鼓楼和钟楼建于1272年，曾因火灾重建了两次。元、明、清时期(1271-1911)，钟鼓楼曾是北京城的报时中心。Rostrum英/'rɒstrəm/美 /'rɔstrəm/n. 城楼Reopen英 /riː'əʊp(ə)n/美 /ˌri'opən/v. 重新开放Renovation英 /ˌrenəˈveɪʃn/美 /ˌrenəˈveɪʃn/n. 翻新;整修Reservation英 /ˌrezəˈveɪʃn/美 /ˌrezərˈveɪʃn/n.预约

LRT patalpose nuo savaitės pradžios šurmuliuoja pirmąkart Lietuvoje suburtas Euroradijo džiazo orkestras, kurį sudaro talentingiausi jaunosios kartos džiazo muzikantai iš visos Europos. Reportažas iš repeticijos.Klaipėdoje triukšmingai prasidėjo dar vienas teatro festivalis. Jei „TheAtrium“ Lietuviško teatro vitrina skirta patyrusiems ir žinomiems vardams, tai „Jauno teatro dienos“ – šiemet Lietuvos teatro ir muzikos akademijos Klaipėdos fakultetą baigiantiems bakalaurams.Švieži įspūdžiai iš praėjusią savaitę pasibaigusios Tarptautinės kompozitorių tribūnos Hagoje. Pokalbis su pergales pelniusių šalių delegatais ir pirmąsyk į Rostrumą atvykusiais radijo prodiuseriais.Kauno valstybiniame muzikiniame teatre premjera – Anatolijaus Šenderovo baletas „Dezdemona“. Pirmą kartą baletas pastatytas dar 2005-ais metais Lietuvos nacionaliniame operos ir baleto teatre. Šį kartą žiūrovai kviečiami į, anot kūrėjų, visiškai kitokią „Dezdemonos“ versiją.Nors Lietuvoje negyvena jau seniai, pianistas, pedagogas, Vytauto Didžiojo universiteto dėstytojas Rimantas Vingras iš mūsų kultūrinės erdvės nedingsta. Kokie keliai jį atvedė į Londoną? Kaip menininkui jame nepaskęsti? Kokius pokyčius menininko gyvenime sukėlė karas Ukrainoje? Pokalbis „Be kaukių“.Ved. Rasa Murauskaitė-Juškienė

Osrednjo pozornost v namenjamo velikemu slovenskemu uspehu na nedavni skladateljski tribuni Rostrum v Haagu, kjer sta odmevni priznanji dosegli skladbi Larise Vrhunc in Matica Romiha. Nadaljevali bomo v Cankarjevem domu, kjer je na 8. koncertu letošnje sezone cikla Kromatika kot solistka gostovala ameriška pianistka Claire Huangci, Simfonike RTV Slovenija pa je v izvedbah del Ravela in Stravinskega vodil šef dirigent Rossen Milanov. Predstavili bomo še šesti in hkrati sklepni koncert cikla Carpe artem v Mariboru, tam je s svojimi glasbenimi kolegi nastopil priznani hornist Boštjan Lipovšek, sobotni sklep Družinskega abonmaja Slovenske filharmonije in zadnji letošnji premieri opernih hiš v Gradcu in Trstu.

Haagis toimuval uue muusika konkursil esindavad Eestit Sander Saarmetsa teos "and the sky turned yellow" ja Anna-Margret Noorhani pala "METRO 8".

Koncert za zlati abonma s Kraljevim škotskim nacionalnim orkestrom ter koncert Orkestra Slovenske filharmonije za abonma SMS, na katerem je nastopil francoski pianist Jean Efflam Bavouzet, sta bila dogodka, ki sta zaznamovala pretekli teden in ju izpostavljamo v oddaji. V nadaljevanju ocenjujemo še koncert solistov ljubljanske Akademije za glasbo ter letni koncert zborov in orkestrov Zavoda sv. Stanislava. Napovedujemo tudi festival Jazz Cerkno in skladateljsko tribuno Rostrum, ki letos poteka v Haagu na Nizozemskem.

Yathrath Gulati, Co-Founder, Rostrum Education shares his entrepreneurial journey where he talks about the dream that every parent sees for their kids - Overseas Education. By providing systematic education Rostrum prepares students for a brighter tomorrow by helping them get into prestigious global institutions. Yatharth's business highly influenced by his personal journey of studying abroad which helped him to land an investment banking job. So, why did he leave his decent investment banking job in London?  Listen to know more about Yatharth's business mindset that will help you to expand your Dhandho Ni Soch.   

Páll Ragnar Pálsson tónskáld, er nýkominn heim frá París þar sem hann var við upptökur á kammerverkinu Lamenta. Það var franska ríkisútvarpið, Radio France, sem pantaði hjá honum verkið eftir að hann hlaut fyrstu verðlaun á alþljóðlega tónskáldaþinginu Rostrum. Við heyrum meira af því ævintýri í þætti dagsins. "Það þarf ekki bara eitthvað eitt leikhúsverk, það þarf mörg leikhúsverk, það þarf margar bækur, margar bíómyndir. Það eru svo ótal margir vinklar og margt sem þarf að skoða, margt sem er óþægilegt og margt erfitt," segir Eva Rún Snorradóttir, sviðshöfundur, en í verkinu Góða ferð inn í gömul sár, sem sýnt er í Borgarleikhúsinu um þessar mundir, freistar hún þess að gera upp HIV faraldurinn á Íslandi með heimilda- og þátttökuleikúsi. Við hittum Evu Rún og fáum að vita meira. Og í dag fáum við pistil frá Freyju Þórsdóttur, heimspekingi, sem steig hér á stokk með sinn fyrsta pistil fyrir 2 vikum síðan og verður hér með okkur fram á vorið. Í dag Freyja fjallar í dag um leiki lífsins og mýkt sem styrk. Í því samhengi skoðar hún m.a. hvaða hvernig auglýsingar stórfyrirtækja geta endurspeglað úreltar hugmyndir um náttúruna, og hvaða áhrif það getur haft þegar umhyggja er ekki metin að verðleikum í samfélagi. Þjáist heimurinn mögulega af lífshættulegum umhyggjuskorti? Umsjón: Halla Harðardóttir og Melkorka Ólafsdóttir

Páll Ragnar Pálsson tónskáld, er nýkominn heim frá París þar sem hann var við upptökur á kammerverkinu Lamenta. Það var franska ríkisútvarpið, Radio France, sem pantaði hjá honum verkið eftir að hann hlaut fyrstu verðlaun á alþljóðlega tónskáldaþinginu Rostrum. Við heyrum meira af því ævintýri í þætti dagsins. "Það þarf ekki bara eitthvað eitt leikhúsverk, það þarf mörg leikhúsverk, það þarf margar bækur, margar bíómyndir. Það eru svo ótal margir vinklar og margt sem þarf að skoða, margt sem er óþægilegt og margt erfitt," segir Eva Rún Snorradóttir, sviðshöfundur, en í verkinu Góða ferð inn í gömul sár, sem sýnt er í Borgarleikhúsinu um þessar mundir, freistar hún þess að gera upp HIV faraldurinn á Íslandi með heimilda- og þátttökuleikúsi. Við hittum Evu Rún og fáum að vita meira. Og í dag fáum við pistil frá Freyju Þórsdóttur, heimspekingi, sem steig hér á stokk með sinn fyrsta pistil fyrir 2 vikum síðan og verður hér með okkur fram á vorið. Í dag Freyja fjallar í dag um leiki lífsins og mýkt sem styrk. Í því samhengi skoðar hún m.a. hvaða hvernig auglýsingar stórfyrirtækja geta endurspeglað úreltar hugmyndir um náttúruna, og hvaða áhrif það getur haft þegar umhyggja er ekki metin að verðleikum í samfélagi. Þjáist heimurinn mögulega af lífshættulegum umhyggjuskorti? Umsjón: Halla Harðardóttir og Melkorka Ólafsdóttir

Elite climber Peter Croft shares his struggles and breakthroughs in Training, Nutrition, Tactics, and Mental Game. - It's hard to overstate the impact Peter Croft has had on the sport of rock climbing and on inspiring generations of climbers. He is an incredibly well rounded climber, though perhaps best known for his impressive free solos, many hundreds (maybe thousands of them at this point), including Astroman and The Rostrum in Yosemite. Amongst Peter's other most notable climbs are the first free ascent of Moonlight Buttress in Zion, Venturi Effect in the high sierra, and Solar Flare on Incredible Hulk. Over a 40+ year career I could spend all day talking about what Peter has climbed so I'll wrap it up with just a couple other mind-boggling accomplishments on big walls: He was the first to link up El Cap and Half dome in a day, which he did with his good friend John Bachar… and he was the first to onsight The Shadow in Squamish, which is a stunning 5.13 that went unrepeated as an onsight for more than 30 years (and some really big names tried it). Peter is an absolute master of endurance and efficiency, born from decades of soloing up and DOWN routes and linking up incredibly long traverses. There's likely no other climber in the world as intimately familiar with movement over rock than Peter is, especially when it comes to multi-pitch granite and crack climbing. He is as impressive as he is humble, and this conversation is so full of wisdom and genuine stoke I just know it's going to fill your heart. - CHAPTERS: Struggle: 0:16:02 Training: 0:22:47 Nutrition: 0:35:56 Tactics: 0:42:26 Mental Game: 0:55:13 Purpose: 1:11:44 Takeaways: 1:21:50 - Follow along on Instagram @thestruggleclimbingshow. Do you want to climb with the legend himself? You can hire Peter as a guide and enjoy the greatest day of climbing in your life -- simply drop him an email at petercroft100@gmail.com. - PhysiVantage is the official climbing-nutrition sponsor of The Struggle. Visit www.physivantage.com/discount/STRUGGLE15 to receive 15% off your full priced nutrition order.   Petzl is the official gear sponsor of The Struggle. Check out their amazing products, including their Hirundos harness, at your local gear shop and learn more at petzl.com.   This episode is sponsored by FrictionLabs. No fillers, made in the US, and the best you can get. Chalk up less and climb more with FrictionLabs! Visit www.frictionlabs.com and enter code STRUGGLE20 at checkout for 20% off your first order. - The Struggle is carbon-neutral in partnership with The Honnold Foundation, whose mission is to promote solar energy for a more equitable world. - Want to be a podcast hero and score yourself some rad limited edition swag? Support the show and the climbers who make it by becoming a Patron at www.patreon.com/thestruggleclimbingshow - Still reading? You deserve a free sticker: Please rate and review the show -- it really helps us to reach a wider audience! Snap a pic of your review, post to IG, and tag @thestruggleclimbingshow so that we can find you, and we'll send you a sticker just because you're rad. - This show is produced and hosted by Ryan Devlin. The Struggle is a proud member of the Plug Tone Audio Collective, a diverse group of the best, most impactful podcasts in the outdoor industry. - The struggle makes us stronger. Let's climb hard and do good things in the world!

In the latest episode, host Grant Bather speaks with Head of Corporate and Social Media at Rostrum, Sophie Mellish. The conversation looks at the role of social media in a crisis, and the steps social media teams can take in a media storm.

Good posture never goes out of fashion.  Standing up straight shows confidence, allows good breath control and projects energy.  Given this is pretty simple, then why is it we get this so wrong when presenting?  The problem is temptations aplenty in the presenting  environment.  The various acting awards or music performance awards are broadcast all around the world, to celebrate people making their living as professional presenters.  Acting is presenting and so is singing, although we do not often think of the performances in that way, but fundamentally that is what these artists are doing.    Now this is one group you would expect to do this well.  Yet, we see award recipients murdering their acceptance speeches.  They stand there shoulders curved, hunched over the stand microphone, bending low from the waist to accommodate the tech, rather than the other way around.  These are people who spend an inordinate amount of their time around microphone technology as users.  Yet they seem incapable of mastering this sound dispersal device.  We get a terrific view of the top of their heads, which when we have a bald or balding pate on display, makes the whole experience even more memorable in a bad way.   If you are ever in a position like that, where the height of the microphone stand makes the distance from the top of the microphone to your mouth seem too far, then change the scenario.  Actually, hopefully you will have arrived early and will have checked the equipment beforehand so will know if the microphone as already mounted will do the trick or not.  You should have already alerted the organisers to your preferred tech arrangements and because it is going to be an extended presentation, you have requested a hand microphone or a lavalier microphone.   Let's presume you have not had that chance, because it is an award ceremony and your remarks will be brief.  Don't worry because the solution is devastatingly simple.  Remove the microphone from the stand holder completely and bring it closer to your mouth when you want to speak.  If the microphone is wedged in there and is not relenting or responding to your efforts to remove it, then go for more radical measures.  Pick the whole damn thing up holus-bolus and speak into the microphone, so that you can be heard by everyone.  Don't be bossed around by the tech – show it who is boss around here.   The other great good posture denier is the podium.  I always recommend dispensing with the podium entirely, if you can do that.  These days we can have our slides there to help us navigate our way through the speech.  The ubiquitous slide advance clickers free us from being trapped behind the podium and having to hit the arrow keys on the laptop to move through the slide deck.  We can advance the slide show from anywhere on the stage and thus be able to access our full body language, to add to our communication piece.    What we often see though, is the speaker, usually male, applying a vice like grip on the outer edges of the podium, in an effort to stop it escaping from the stage at any moment.  Male speakers also love it because they don't know what to do with their hands, so choking the life out of the podium takes care of that problem completely. This double grip arrangement eliminates the possibility of using gestures, to back up the words, because the podium has now become a function of the speaker's balance.  This is because the speaker is standing back from the podium and leaning forward, head down, shoulders hunched over the microphone attached to the low flying microphone stand.  When your weight is back like that, you tend to get stuck in that position and wind up delivering the whole speech with that poor posture.   If for some sad reason you are using a podium as a notes bench or even worse, are using your laptop screen as your notes bench, then stand up straight and slightly back and away from the podium.  From here, you can' t easily grip the furniture and this frees you up to use your gestures.  I make a point of only ever touching the podium with my finger tips to make sure I am not tempted to throttle the podium and to remind myself to stand up straight, when I deliver my talk.   Good posture shows the mark of the professional, who is in control of their environment, the furniture and the tech.  Gestures are there to amplify the points we are making and we don't want to lose that functionality. We need to get such basics things right when presenting.  Once we have managed that, all we have to do is concentrate on our audience and that is why we are there in the first place, isn't it.

S Petro Strahovnik nadaljujemo cikel poletnih oddaj, v katerih poslušamo stare koncertne posnetke danes uveljavljenih glasbenikov. Tokrat smo izbrali posnetke s Skladateljskega večera, ki je potekal 7. januarja 2008 v Slovenski filharmoniji v okviru Glasbene mladine ljubljanske in iz koncerta Slovenskih glasbenih dni, ki je bil marca 2010 na ljubljanskem gradu. Leta 2008 je Petra Strahovnik še obiskovala tretji letnik študija kompozicije na Akademiji za glasbo v razredu Uroša Rojka, po uspešnem študiju pa se je pozneje vpisala še na Kraljevi konservatorij v Haagu. Njeno glasbeno pot bogatijo številni uspehi in nekatere bomo tudi omenili v oddaji (med drugimi zmago na skladateljski tribuni Rostrum leta 2019), poslušali pa bomo dela Keen, Lebdenje in Panisterah.

Episode seven features Jonathan Coad, to discuss his book ‘Reputation Matters – How to protect your professional reputation' and chat about how PR and lawyers can work together to help clients in crisis.   Hosted and produced by Rostrum' Director of Reputation, in-house media trainer and crisis lead Grant Bather, the podcast examines how organisations can be proactive in managing their reputation prior to a story hitting the newsstands.   Throughout the podcast Grant and Jonathan return to the topic of engaging with media lawyers to help establish the best course of action. They also discuss steps organisations can take to assist journalists and cover off the general considerations that all businesses, large and small, should be mindful of – conscious of the fact that all organisations are different.   Jonathan also promotes the idea of lawyers and PR professionals working hand in hand, and the need for a concise reputation team to achieve prompt sign-off of messaging. The podcast also highlights the need for a consistent messaging approach from organisations engulfed in reputation management, while balancing the need to take stock and not rush in to the issue.  

V Glasbenem utripu izpostavljamo mednarodno skladateljsko tribuno Rostrum, ki je potekala prejšnji teden. Predlog našega radia, koncert za violončelo in orkester Unveiled Vita Žuraja je bil deležen veliko pozornosti, točkovanje pa ga je uvrstilo med deset priporočenih del, s čemer slovenska glasba nadaljuje z rednimi visokimi uvrstitvami na Rostrumu v zadnjem desetletju. Poleg izbora na skladateljskem Rostrumu je prejšnji teden potekal tudi zaključek nagrade Palma Ars Acustica. Vrh letošnjega tekmovanja Palma Ars Acustica je bil izjemno izenačen, zmagovalci so kar trije, med njimi pa, tudi Brane Zorman s svojo bio-akustično stvaritvijo, nastalo na podlagi zvočne instalacije z naslovom Duh dreves | Dotik. Obenem poročamo tudi s koncerta Zlatega abonmaja Cankarjevega doma. 1. junija je v Gallusovi dvorani potekal zadnji koncert letošnje sezone. Že naslednji dan je prav tako v Cankajevem domu potekal šesti koncert iz abonmajskega cikla Slovenske filharmonije Same mogočne skladbe, v nedeljo pa je v okviru projekta Tartini 330 v Amfiteatru portoroškega Avditorija nastopil violinist Stefan Milenković, ki je igral ob orkestru Camerata Novi Sad.

No 31. maija līdz 2. jūnijam jau 68. reizi norisinājās Starptautiskais komponistu konkurss Rostrum, ko rīko Starptautiskā Mūzikas padome (International Music Council) un UNESCO. Otro reizi tā pastāvēšanas laikā konkurss norisinājās Alesandro Skarlati Mūzikas konservatorijā Palermo, Itālijā, Ar Valsts kultūrkapitāla fonda finansiālo atbalstu Latvijas Radio pārstāvēja un žūrijas darbā piedalījās Anna Veismane, konkursā piedāvājot Kristapa Pētersona skaņdarbu balsij solo "Smilgas" (Ieva Parša) un Jāņa Petraškeviča Kamersimfoniju 34 instrumentiem un solo perkusijām Echoing Distances (Sinfonietta Rīga un diriģents Normunds Šnē). Konkursā tika iesūtīti 60 darbi, kurus 23 dažādu valstu raidstaciju pārstāvji no četriem kontinentiem noklausījās trīs dienu laikā. Augstāko novērtējumu vispārējā kategorijā saņēma norvēģu komponistes Kristīnes Hjegešenas (Kristine Tjøgersen, 1982) darbs orķestrim un elektronikai Between Trees (2021), bet jauno komponistu kategorijā līdz 30 gadu vecumam uzvarēja poļu komponiste Monika Špirka (Monika Szpyrka, 1993) ar opusu akordeonam un orķestrim Parts among Parts (2021). Par konkursa rezultātiem telefonintervijā no Palermo stāsta Anna Veismane.  

Kultūrinės spaudos apžvalga.Klaipėdoje pirmą kartą eksponuojami skulptoriaus, dailininko ir poeto Šarūno Šimulyno darbai.Mykolo Drungos užsienio kultūrinės spaudos apžvalga.Aktualijos iš 68-ojo prestižinio šiuolaikinės muzikos radijo įrašų forumo ROSTRUM.Vasaros muzikos festivaliai šįmet – be pandeminių apribojimų. Kokio tikimąsi auditorijos įsitraukimo? Kaip karas ir infliacija koreguoja organizatorių planus? Kas formuoja festivalio identitetą ir kodėl svarbu jį puoselėti?„Pasikeitus laikams, T. Cruise‘as vis dar kuria aktoriaus mitą ir jam tai sekasi. Negaliu nesutikti, bet jis tikrai mėgaujasi šiuo vaidmeniu“, - filmą „Asas Maverikas“ apžvelgia kino žurnalistė Ieva Šukytė.Kaip ugdyti psichologinį atsparumą nestabiliu laikotarpiu? Psichologės Rositos Kanapeckaitės įžvalgos.

A great Thursday crossword by, presumably, a fan of Kenny Rogers -- the singer, not necessarily the restaurant. The theme was fun, the cluing crisp (just like what you might get at Kenny Rogers, the restaurant), and our only regret is that we have only 5 squares to give it on the JAMCR (Jean And Mike Crossword Rating) scale -- it will have to do. We also have a fascinating discussion of clue rankings, and one of the great ROSTRUM rhymes of the early 21st century, just waiting for you, right here.

Hosted and produced by Rostrum's in-house trainer and crisis lead, Grant Bather, episode six sees Grant discuss the legal implications of a negative reputational issue with Oliver Fairhurst from law firm Lewis Silkin. Throughout the podcast Grant and Oliver return to the theme of preparation. They discuss steps organisations can take to mitigate internal pressures and cover off the general considerations that all businesses, large and small, should be mindful of – conscious of the fact that all organisations are different. Grant and Oliver also explore how the communications response differs based on varying circumstances, including if an entity is guilty of what they are being accused, or if they don't know. All of these factors need to feed into a business' approach to stakeholders, tone and more. The podcast also briefly examines case studies, including Aldi and Alton Towers, among others, as well as the role social media plays in a crisis.

Rostrum+ vinüülplaadil kõlavad aastail 2016-2018 rostrumi noortekategooria võiduga kaasnenud tellimusteoste maailmaesiettekanded. Albumile on jäädvustatud Matej Bonini, Sebastian Hilli ja Maria Kõrvitsa looming.

Rostrum is a noun that refers to a raised platform for public speech. Our word of the day comes directly from Latin and had exactly the same meaning as it does today. A rostrum in Ancient Rome referred to a raised platform used by public speakers in the forum. Here's an example: The first speaker at the rostrum had many interesting observations to make on the topic. So when it was my turn to speak, I was a little intimidated. I almost wish the raised platform had been sunken into the ground.

Welcome to 'Managing Reputational Risk' a Rostrum Agency podcast. The podcast is hosted by Rostrum's in-house trainer and crisis lead, Grant Bather, and looks at all things reputational risk from a communications standpoint.  In this episode Grant is joined by Tim El-Sheikh, CEO and Co-Founder of Nebuli to discuss AI and data ethics and how data can inform proactive reputational management strategies.

Welcome to 'Managing Reputational Risk' a Rostrum Agency podcast. The podcast is hosted by Rostrum's in-house trainer and crisis lead, Grant Bather, and looks at all things reputational risk from a communications standpoint.  In this episode Grant is joined by Mark MacGregor to discuss 'reputational credit' and how - and what - organisations can learn from politics.

We're talking a lot of neither this week. Cults, the Rostrum with celebs and more Rules Lawyer. We also have a new segment called: Real or Fake! Join us and our friend Margo on this week's podcast! Support the show (https://www.patreon.com/crispshawarma)

Pregled aktualnih glasbenih dogodkov, izpostavljamo: – Orkester Mozarteum Salzburg v Zlatem abonmaju – klavirski recital Tatjane Ognjanovič v Kristalnem abonmaju v Škofji Loki – oddaja Arsov art atelje: prvi vtisi po 67. tribuni Rostrum v Beogradu

Uhiuuel Rostrum+ vinüülplaadil kõlavad aastail 2016-2018 rostrumi noortekategooria võiduga kaasnenud tellimusteoste maailmaesiettekanded. Albumile on jäädvustatud Matej Bonini, Sebastian Hilli ja Maria Kõrvitsa looming.

Kokkuvõtted 12.-15. oktoobrini Belgradis toimunud 67. rahvusvaheliselt heliloojate rostrumilt. Eetris laupäeval kell 9 ja pühapäeval kell 12. Saatejuht on Johanna Mängel.

Šodien finišējis 67. starptautiskais komponistu konkurss "Rostrum", kurā jauno komponistu grupā vecumā līdz 30 gadiem galveno balvu ieguvis komponists Krists Auznieks par kompozīciju Are One. Par to telefonintervijā no Belgradas plašāk ziņo Signe Lagzdiņa. Liene Jakovļeva: Jau veselu nedēļu esi pavadījusi Belgradā, darbojoties 67. starptautiskajā kompozīciju konkursā Rostrum, kas nu jau ir noslēdzies, un, kā noprotu, tev ir ļoti labas ziņas, ko pastāstīt "Klasikas" klausītājiem kā pirmajiem. Signe Lagzdiņa: Patiešām, tā ir, jo visas šīs nedēļas darba dienas esam pavadījuši, smagi strādājot – noklausoties vairāk nekā astoņas stundas ar laikmetīgo mūziku. Kopumā bija piedāvāti 37 skaņdarbi no 21 valsts. Kā vienmēr, Rostrum – tas reizē ir jaunās mūzikas apmaiņas punkts starptautiskajā vidē, reizē – satikšanās ar radiokolēģiem un arī jaunas vietas iepazīšana. Bet konkursā ir arī balvas un uzvarētāji, un pēc noklausīšanās mums – katras valsts radio delegātam – jābalso par desmit skaņdarbiem galvenajā kategorijā, gluži kā Eirovīzijā, un par trim skaņdarbiem – jauno komponistu (līdz 30 gadiem) kategorijā. Un labās ziņas ir tās, ka jau otro reizi pēc kārtas Latvija ir saņēmusi balvu jauno komponistu kategorijā! Atgādināšu, ka iepriekšējo reizi 2019. balvu saņēma komponists Jēkabs Jančevskis par opusu When. Šoreiz konkursam piedāvājām Krista Auznieka skaņdarbu Are One, kas tika pirmatskaņots laikmetīgās kameroperas "Tagadne. Time present" izrādīšanas laikā, un tajā piedalās Sinfonietta Rīga, Normunds Šnē un Jānis Šipkēvics. Esmu ļoti priecīga – tas nenotiek bieži, ka viena valsts divas reizes pēc kārtas saņem vienu no galvenajām balvām. Liels prieks par Kristu! Galvenajā kategorijā – tā noteikti ir sakritība – galveno balvu saņēma Serbijas komponiste Ivana Ogņanoviča. Arī tas ir lielisks darbs orķestrim ar elektroniku, bet vairāk par visu konkursa norisi "Klasikā" stāstīšu otrdien – pēc tam arī klausīsimies skaņdarbus, jo katra valsts, kas piedalās, pirmajā desmitniekā iebalsotos darbus atskaņo savās radiostacijās. Vai tu jau esi informējusi Krista Auznieka un arī viņa opusa atskaņotājus par šiem brīnišķīgajiem jaunumiem? Tā kā mums ir saspringts laiks un arī šobrīd esmu aizņemta ar tikšanos kopā ar radio delegācijām, uzrakstīju Kristam ziņu - viņš šobrīd ir Amerikā, līdz ar to viņš šo dienu iesāka ar šo skaisto ziņu. Drīz došu ziņu arī atskaņotājiem un zinu, ka arī viņi būs ļoti, ļoti priecīgi. Bet interesanti – man ļoti daudzi uzdeva jautājumu, kas ir Jānis Šipkēvics! Vai viņš ir kontrtenors? Jo protams, ka var dzirdēt popmūzikas ietekmes viņa balsī, bet daudzi kolēģi, kas arī izteica kādus komentārus pēc skaņdarba atskaņojuma, teica, ka komponists ir atradis lielisku veidu, kā sapludināt žanrus, nepadarot neko banālu vai nebaudāmu. Tās ir tiešām brīnišķīgas ziņas tādā pelēcīgā piektdienas vakarā. Vai tu zini, kāds ir pārsvars? Vai balsotāju vairums nosvērās par labu Kristapam Auzniekam, jeb tas jums pagaidām paliek aizkadrā – šie cipari un statistika. Ciparus mēs vēlāk saņemsim, bet – kas ir vēl viena laba ziņa –  Krists Auznieks iekļuvis arī lielās jeb galvenās kategorijas pirmajā desmitniekā. Zinu, ka daudziem kolēģiem bija liela dilemma, kurā kategorijā viņu likt. Šogad arī bija netradicionāla situācija, ka tieši jauno komponistu kategorija bija ļoti liela - liels pārsvars dalībnieku bija tieši šajā kategorijā.  Tu jau droši vien pati nedrīkstēji par Kristu Auznieku balsot? Gluži kā Eirovīzijā, sava valsts par sevi nebalso. Kas bija tavas simpātijas, par ko balsoji tieši tu, un vai tās sakrīt ar galarezultātu? Man jāatzīst, ka gluži nē, bet reizē bija tiešām ļoti labi darbi – ļoti dažādi, dažādiem sastāviem. No kamermūzikas bija, piemēram, skaņdarbs no Meksikas blokflautai un elektronikai. Bet turpat blakus – lielie orķestra darbi, kāds kora darbs – kā to visu izvērtēt? Jo katrs ir labs savā būtībā. Mani ļoti aizkustināja lietuviešu piedāvātais skaņdarbs, kas rakstīts klavieru kvartetam – reizē minimālistiska tehnika, tonalitāte, reizēm arī kaut kas svaigs un nedzirdēts. Pamanīju vairākas tendences: aizvien vairāk komponistu pievēršas tīrai skaņai – ļoti statiskai, tonālai, melodiskai. Bet, protams, ir arī citas tendences – kā jau laikmetīgajā mūzikā, ļoti dažādas. Norvēģiem bija ļoti interesants skaņdarbs, arī poļiem ļoti interesanti jaunās paaudzes komponisti. 

Otselülitus Belgradi, heliloojate rostrumile.

Photo:  Dwight D. Eisenhower delivers a major foreign policy address from the Rostrum in The Heart of Texas Coliseum in Waco, Texas.  The speech was part of the graduation ceremony at Baylor University. . CBS Eye on the World with John Batchelor CBS Audio Network @Batchelorshow "US foreign policy is merely US domestic politics carried out abroad." Gregory Copley, Defense & Foreign Affairs HFN https://www.reuters.com/world/biden-failed-secure-summit-with-chinas-xi-call-last-week-ft-2021-09-14/ 

China's national rejuvenation has become a historical inevitability, and the Communist Party of China and the Chinese people will walk along the path of their own choice to ensure the nation's destiny remains firmly in their own hands, General Secretary of the CPC Central Committee Xi Jinping said on Thursday.Xi, who is also China's president and chairman of the Central Military Commission, made the remarks at a grand gathering in Beijing in celebration of the centenary of the Party's founding.▲ Xi Jinping, general secretary of the Communist Party of China Central Committee, Chinese president and chairman of the Central Military Commission, stands at the Tian'anmen Rostrum in Beijing for the grand ceremony marking the centenary of the CPC, where he delivered an important speech on Thursday morning. Li Xueren/XinhuaSpeaking from the Tian'anmen Rostrum, where Mao Zedong announced the founding of the People's Republic of China on Oct 1, 1949, Xi announced that China has accomplished the building of a moderately prosperous society in all respects, the first centenary goal the nation has set for its long-term development."This means that we have brought about a historic resolution to the problem of absolute poverty in China, and we are now marching in confident strides toward the second centenary goal of building China into a great modern socialist country in all respects," Xi said.▲ The ceremony progresses at Tian'anmen Square in Beijing on Thursday. Liu Jinhai/XinhuaWhile reviewing the CPC's century-old history and its significant role in rallying and leading the Chinese people to secure victories in revolution, construction and reform, he stressed the Party's commitment to achieving the great rejuvenation of the Chinese nation.Resolving the Taiwan question to realize China's complete reunification is a historic mission and an unshakable commitment of the Party as well as the shared aspiration of all the Chinese people, Xi said, adding that resolute actions must be taken to defeat any attempt at "Taiwan independence", and to create a bright future for national rejuvenation."No one should underestimate the resolve, the will, and the ability of the Chinese people to defend their national sovereignty and territorial integrity," he said.Xi called on the whole Party to take history as a mirror, stay true to the Party's founding aspirations and mission and uphold the people-centered philosophy to create a brighter future in the new era.Calling the people "true heroes, for it is they who create history", he said that the people are all that matters.The CPC has always represented the fundamental interests of the overwhelming majority of the people, Xi said, and any attempt to divide the Party from the people or to set the people against the Party is bound to fail."The more than 95 million Party members and the more than 1.4 billion Chinese people will never allow such a scenario to come to pass."He underlined the need to wholeheartedly serve the people, stick to the people-centered development philosophy, promote people's democracy and uphold social fairness and justice.Military aircraft form the number 100 as they fly in formation over Tian'anmen Square ahead of the grand gathering to celebrate the Communist Party of China's centenary in Beijing on Thursday. Zhang Chen/XinhuaPriority should be given to addressing imbalances and inadequacies in development as well as the most pressing difficulties and problems that are of great concern to the people, Xi said, adding that efforts should be made to achieve notable and substantial progress in promoting well-rounded human development and common prosperity for all.He stressed the importance of continuing to adapt Marxism to the Chinese context as well as upholding and developing socialism with Chinese characteristics in the new era. "At the fundamental level, the capability of our Party and the strengths of socialism with Chinese characteristics are attributable to the fact that Marxism works."Noting that the nation stands ready to learn from the achievements of other cultures and also welcomes helpful suggestions and constructive criticism, Xi said, "We will not, however, accept sanctimonious preaching from those who feel they have the right to lecture us.""We will make sure the destiny of China's development and progress remains firmly in our own hands," he added.Xi underscored upholding the Party's overall leadership, saying that China's success hinges on the Party. "The Party was chosen by history and the people. The leadership of the Party is the defining feature of socialism with Chinese characteristics and constitutes the greatest strength of this system."▲ Young people wave national flags and Party flags to celebrate the centenary of the Communist Party of China at Tian'anmen Square in Beijing on Thursday. Shen Hong/XinhuaIn terms of the nation's development on the new journey ahead, Xi emphasized the need to deepen reform and opening-up across the board, fully and faithfully implement the new development philosophy, foster a new development paradigm, promote high-quality growth and build up the country's strength in science and technology.He also warned against challenges and risks facing the Party, particularly due to complex changes in the international landscape, and called for efforts to coordinate development and security imperatives.Saying that the characteristic that distinguishes the CPC from other political parties is its courage to reform itself, Xi called for continuing to strengthen Party building."We must tighten the Party's organizational system, work hard to train high-caliber officials who have both moral integrity and professional competence, remain committed to improving Party conduct, upholding integrity, and combating corruption, and root out any elements that would harm the Party's advanced nature and purity and any viruses that would erode its health," Xi said."We must ensure that the Party preserves its essence, color and character, and see that it always serves as the strong leadership core in the course of upholding and developing socialism with Chinese characteristics in the new era."记者：曹德胜

Benjy Grinberg, founder and CEO of Rostrum Records, looks back on his journey—how he left what others might consider a dream job to start his own music label. Rostrum has helped put Pittsburg on the map with artists like Wiz Khalifa and Mac Miller. Benjy reveals what it has been like to work with those two artists, giving us a snapshot of how their careers took off. Tune in until the end to learn about some of the philanthropic things he has done. If you want to know what it's like to start your own label, this is the episode for you! Episode Highlights: ( 02:40 ) About Pittsburg's music scene ( 03:24 ) Benjy's transition from L.A. Reid's assistant to independent music producer ( 07:05 ) How he met Wiz Khalifa and their trajectory to success ( 11:40 ) On handling different duties at the same time ( 17:41 ) The challenges of releasing mixtapes on streaming services ( 25:52 ) On doing deals with artists and major labels ( 37:40 ) The importance of giving back and mental health awareness Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSS Host: Dan Runcie, @RuncieDan, trapital.co Guest: Benjy Grinberg, @benjybenjy, Rostrum Records Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.

Beth Swanson started off in advertising and marketing. While moving back to Chicago after living abroad, she decided she was tired of the advertising industry and wanted to focus more on personal artwork. She also has built a community of artists in Chicago using empty storefronts as pop-up galleries, under the brand Rostrum 312.

In this episode… Manheim Auction Services' head auctioneer Andy Conde returns to Fuel/talk to share his latest observations from the rostrum, this time joined by Stuart Peak – Manheim's national LCV manager to discuss how the wholesale market for vans is currently fairing. Andy and Stuart are the genuine experts in their field and never shy to share an opinion, so make a brew, set your phone to silent and enjoy the conversation!

Book Review Plunkitt of Tammany Hall: A Series of Very Plain Talks on Very Practical Politics, Delivered by Ex-senator George Washington Plunkitt, the Tammany Philosopher, from his Rostrum - the New York County Courthouse Bootblack Stand By William L. Riordan Published: 1905 Download available at archive.org A transcript of this review is at volumesofvalue.blogspot.com.

I had the opportunity to sit down with A&R and hip hop lover Nicole Plantin. We discussed her time at Elektra Records and the start of Pharrell's Star Trek to her illustrious time at Rostrum. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/coolunivercity/support

完整标题：Remain True to Our Original Aspiration and Founding Mission-An Ongoing Campaign读书嘉宾：中国日报社副总编辑。英文文本：Remain True to Our Original Aspiration and Founding Mission-An Ongoing CampaignA party with over 90 million members and 4.6 million grassroots organizations that has long ruled a vast country boasting a population of 1.4 billion, the CPC gives staunch leadership in building Chinese socialism. The Party's own efforts to strengthen itself have always been a serious matter affecting the overall situation.While today's world is undergoing changes of a scale unseen in a century, China is at the critical stage of national rejuvenation, and the CPC is leading the people in a great historic struggle with many new features. These changes that come at a staggering pace, the need to strike a balance between reform, development and stability, and the problems, risks and challenges we face–all present unprecedented tests to our Party's governance. To win constant support from the people and continue to achieve further success, our Party, with a history dating back almost 100 years, must bear in mind our original aspiration and founding mission, clear out whatever undermines the Party's progressive and wholesome nature, rid ourselves of any virus that erodes the Party's health, and guard against any danger that goes against our original aspiration and founding mission and has the potential to shake the foundations of the Party.The past is a prologue. The whole Party must use this education campaign on our original aspiration and founding mission to commit ourselves to further self-reform. Here, I want to highlight a few points.First, to remain true to our original aspiration and founding mission, we must make strengthening our Party an eternal theme for all Party members and officials. Either for a person or for a party, what must be treasured most is the adherence to one's original aspirations and good qualities in the face of any hardships encountered. For our Party, its original aspiration and founding mission epitomize its nature, purpose, ideals,convictions and goals, and motivate us to stand fast and march forward. From the Shikumen building where our Party was established, to the Tian'anmen Rostrum where the founding of our country was declared, and on to the path of the new era, all of our Party's efforts, struggles and sacrifices have been dedicated to the people's well being and national rejuvenation. Our original aspiration and founding mission have enabled the Party to grow and prosper in extreme difficulties, break through tight encirclements, and rise in adversity.Without them, our Party would change its nature, lose public support, and risk its future.A nation or a party that forgets where it comes from will not grow and prosper. It should be noted that in the course of our Party's long rule, elements undermining the Party's progressive and wholesome nature are persistent, threats to our original aspiration, our founding mission, and the Party's foundation are ubiquitous, and impurities in thinking,political commitment, organization, and conduct in the Party have not been completely eradicated.A Marxist Party will not remain progressive and wholesome automatically over time, nor will a Party member's Party consciousness deepen merely through length of service and promotion. There is a risk that our original aspiration will fade and disappear if it is neglected.It is easy to forget why we started and where we are going; it is easy to wander off track and get lost. The fundamental reason why corrupt officials break laws and infringe discipline is that they have cast aside their original aspiration. All Party members should constantly examine and analyze themselves to eradicate any impurities, negative influence, and contamination.I have said on many occasions that Party members and officials should regularly reread the Party Constitution, their oath of admission to the Party, and the martyrs' letters to their family during the revolution. We need to check our actions against the Party Constitution to find out whether we have complied with the requirements and maintained our original aspiration, just as we tidy our rooms and polish our mirrors regularly to keep them neat and clean. We must guide all Party organizations, members and officials to examine their political thinking against the requirements of the Central Commit-tee, scan their behavior against the Party Constitution and regulations, scrutinize their performance against the people's expectations,and compare themselves with the revolutionaries and martyrs of the older generation and with today's role models. We should constantly remind ourselves of our original aspiration, and stay true to and shoulder our founding mission.We need to nurture the aspiration and keep to the mission through innovative thinking, allow them to further motivate us by reviewing the extraordinary history of our Party, and build a deeper understanding of them as we further regulate intra-Party political activities, so that they can be a driving force for us to forge ahead, innovate and do hard and solid work.Second, to remain true to our original aspiration and founding mission, we must unify our thinking, will and action with the latest theoretical development of Marxism in the Chinese context. The progressive nature of a Marxist party manifests itself first and fore-most inits theory. It is our Party's distinctive feature, and one of its finest traditions, to highlight its theoretical development. Mao Zedong once said,“Therefore ideological education is the key link to be grasped in uniting the whole Party for great political struggles.”The original aspiration of Communists is based on their concern for the people, their perseverance in pursuit of truth, and more importantly, on scientific theories of Marxism. Only by improving Party members' theoretical understanding can we stay true to our original aspiration and shoulder our founding mission more conscientiously and more firmly.The biggest enemy of theoretical study is complacency. If we want to really learn something, we must stay hungry. But we now have some Party members and officials who undervalue theoretical study and spend no time on it; some lack perseverance; some put on a show, dabbling with out thorough understanding; some engage in casual and fragmented learning, choosing what interests them and ignoring what does not; many young officials are not well equipped theoretically or firm in their ideals and convictions. We need to help them adopt a serious and sound attitude, if they are to truly understand,firmly believe and actually apply the theories.I have noted repeatedly that it is through learning that we Communists have come so far today, and it is still the weapon that we must employ as we march into the future. All Party members must keep pace with the times, casting off outdated mindsets, old routines and old practices in thought, deed and decision-making. Otherwise we will be left behind, fail to perform our duties, miss good opportunities, and ruin our work.This problem requires the highest attention from all Party members and particularly from leading officials at all levels. Advancing with the times must be more than a mere slogan; it must guide our thinking and action. We cannot blind ourselves to what is really happening out there like the people in the legendary Peach Blossom Spring who cut all ties with the outside world.Every step in theoretical innovation must be followed by education and training. All the previous education campaigns of the Party began with ideological education, to address the problems of casual study, disunity in thinking, and slow response in action. With continuous follow-up and concentrated efforts, they aimed to achieve unified thinking,political solidarity, and unison in action across the Party. The top priority should be studying, understanding and applying the Party's innovative theories.It should go together with studying the basic tenets of Marxism, and the histories of the CPC, the PRC, reform and opening up, and socialist development.This in turn must happen in the context of the efforts we have invested in the great struggle for national development, the great project of strengthening our Party, the great cause of Chinese socialism, and the great dream of national rejuvenation. We must work hard to have a good grasp of what we are learning, unify our thinking through freeing our minds, and improve our understanding of the Party's theories so as to apply them in a more proactive way.Third, to remain true to our original aspiration and founding mission, we must have the courage to face up to problems and carryout self-reform through vigorous self-examination. “When a gentle-man errs, his mistake is as visible as a solar or lunar eclipse, but when he corrects it, he is worthy of respect again.”Our Party's prominent strength is our ability to confront problems and correct mistakes. Vladimir Lenin once said,“Frankly acknowledging a mistake, ascertaining the reasons for it, analyzing the conditions that have led up to it, and thrashing out the means of its rectification – that is the hallmark of a serious party.”A strong party is forged through self-reform. In looking back at our Party's history, while carrying forward social revolutions it has always embarked on self-reform by upholding truth, rectifying its mistakes, facing problems squarely, over coming its weaknesses, and bracing for the pain of removing the poison to heal quickly. Precisely for this reason, our Party has been able to survive every desperate situation, bring order out of chaos, and become an invulnerable Marxist party.At present, a minority of Party members and officials lack the drive to reform themselves. They take things as they are and make little effort. Some are losing their ability to examine problems in favor of worrying about personal gains and losses, or concealing their faults for fear of criticism; some dare not air criticism, but keep themselves discreetly out of harm's way by remaining mute; some indulge them-selves in corruption and extravagance – they even violate Party regulations such as the Eight Rules despite repeated prohibitions. As an ancient Chinese scholar said, “The hardest thing to do under heaven is to keep one's heart under control, and the easiest thing is to be lured by desire.Once we are tempted, the will to reform ourselves will wane to the point of abandoning our original aspiration and founding mission and violating discipline, even breaking the law.It is not hard to find the original aspiration but it is not easy to follow through. All Party members must constantly up hold revolutionary ideals, maintain high morale, and use the weapons of criticism and self-criticism to improve Party conduct, enforce Party discipline and fight corruption. We will continue to strengthen the Party's ability to cleanse,improve, reform and surpass itself. We must fight against anything that might weaken the Party's foundations and undermine the Party's undertakings, and eliminate any virus that erodes the Party's health.Fourth, to remain true to our original aspiration and founding mission, we must maintain the resolve to fight and fulfill our duties. Our Party was born when the nation was beset by domestic crisis and foreign aggression, so it had to fight to survive, to grow and to triumph. The closer we sail towards national rejuvenation, the more we may encounter heavy seas. We must be mindful of possible dangers in time of peace and possible crisis in time of stability, remain ever-vigilant, boost morale,and be resolved to engage in the great historic struggle with many new features.Speaking of fighting, we do not fight for the sake of it nor for personal gain; we must work hard and overcome difficulties to fulfill the people's expectation for a better life and realize the rejuvenation of the Chinese nation. To judge whether a Party member or official has the spirit to fight and the will to take responsibility, we should see whether he or she has the courage to take a stand on major issues of principle,to rise to challenges, to come forward in times of crisis, to accept responsibility for mistakes, and to fight against unhealthy trends and evil practices.At present, among our Party members and officials, there are problems such as the lack of will, courage or ability to take on responsibilities. Some prefer to be risk-averse, avoid confrontation,or sit on the fence. They worry that “the more dishes you wash, the more likely you are to break them”. They embrace ideas such as “making friends rather than enemies, and turning a blind eye to indiscretions”, “rather do nothing in case something goes wrong”, “taking credit for successes but refusing to accept responsibility for mistakes”, and “enjoying standing in the limelight rather than working behind the scenes”. They panic whenever problems and difficulties arise. This is not the conduct of a Communist! They will bring nothing but trouble or even disaster.A towering tree will not grow in a plant pot;likewise, a great cause cannot be achieved by idlers. To become mainstays of the Party our members and officials must face the world, brave the storm, hone their skills, and enhance their capabilities. They should be men and women of courage and action, knowledgeable and ready to take on responsibilities. They should lead the charge in the face of major challenges, risks, and resistance,and distinguish themselves.Fifth, to remain true to our original aspiration and founding mission, we must develop and improve the intra-Party systems to establish a long-term mechanism. Systemic strength is the greatest advantage of a party and a nation. Deng Xiaoping once said, “If these systems are sound,they can place restraints on the actions of bad people; if they are unsound,they may hamper the efforts of good people or indeed, in certain cases, may push them in the wrong direction.Our Party suffered losses due to weak systems. Since the 18th CPC National Congress, the Central Committee has been commit-ted to running the Party by rigorous rules,trying to develop a set of systems and institutions that are well-conceived,procedure-based, and effective. Such efforts have strengthened Party self-governance.The Fourth Plenary Session of the 19th CPC Central Committee proposed a system for remaining true to the original aspiration and founding mission. Establishing a new system requires systematic and dialectical thinking while upholding principles so as to make it instructive, targeted and operational. In this process, we must take pragmatic and effective measures to get to grips with problems with an easy and applicable approach; we must balance the Central Committee's requirements against actual conditions and the expectations of the public at the grassroots level, keeping our eyes on the goal as well as realities; we must emphasize both breaking new ground and maintaining consistency, and make sure the new system accommodates existing intra-Party regulations and systems, determining what is to be retained, improved, established or implemented. When formulating our rules and regulations, we should not try to make them all-encompassing, nor should we overdo the detail.Systems are to be observed and enforced. The whole Party must strengthen its will to abide by, implement and uphold our systems, and put in place an authoritative and efficient enforcement mechanism to step up supervision of their implementation. We must ensure the full and solid implementation of the system for remaining true to the original aspiration and founding mission and stamp out the practices of rule-bending,loose and selective enforcement, in case rigid restrictions become lax, and along-acting mechanism becomes ineffective.Sixth, to remain true to our original aspiration and founding mission, leadership organs and leading officials must make the running. Leadership organs are important bodies in state governance, and leading officials, small in number but holding key positions in state and Party undertakings, are like weather vanes for the whole Party and society. “The rulers' virtue is like wind, and commoners' virtue like grass, which always bends in the direction of the wind.This means leading by example is far more effective than simply issuing orders or prodding people into action. Leadership organs and leading officials must lead the charge in this education campaign.“If we fail to lead by example, others will neither trust nor follow us. Leadership organs and leading officials have always been the first to charge forward,which is the key to our Party's success. In the years of revolutionary war,“Charge!” and “Follow me in the charge!” were two orders with a world of difference. After the founding of the PRC, thanks to a large number of exemplary officials like Jiao Yulu, Gu Wenchang, Yang Shanzhou and ZhangFuqing, our Party is able to lead the people to make new progress in every field. Leadership organs and leading officials must fully understand the responsibilities with which they have been entrusted, keep sober-minded, and regularly examine and improve themselves.This year will witness the end of our battle against poverty,success in building a moderately prosperous society in all respects and the conclusion of the 13th Five-year Plan. We are confronted with increasing external challenges, mounting downward pressure on the economy, and the formidable task of striking a balance between reform, development and stability.The more complicated the situation is, the more it needs leadership organs and leading officials to maintain their resolve and press forward; the more arduous the tasks are, the more it needs them to lead by example, do solid work and shoulder their responsibilities. All leadership organs and leading officials must enhance the Four Consciousnesses, improve the Four-sphere Confidence, and ensure the Two Upholds, leading the people to overcome difficulties on our way forward, and satisfying the Party and the people with good performance.

Mike Kerzhner is a software engineer, an accomplished Yosemite climber, and an impressive all-rounder. We talked about growing up climbing and competing in Russia, moving to the States and climbing at the Red River Gorge, his path to trad and big wall climbing, free climbing El Cap, writing, poetry, speaking Russian, and discipline born out of necessity.  Support on Patreon:patreon.com/thenuggetclimbing  Show Notes:  http://thenuggetclimbing.com/episodes/mike-kerzhner  Nuggets:  2:05 – Savory oats  3:33  – “Eat, then sleep, then climb.”  4:05 – Big wall food, water weight, and radishes  6:13 – PerMuir, corners, and send cookies  9:04 – Excerpt from Mike’s writeup on the PreMuir, and writing  10:59 – Mike’s internal conflict with social media and sharing about experiences  12:20 – Patron Question: How does Mike contrast computer-heavy career choices with a lack of digital presence?  13:45 – Early climbing and competing in Russia  20:37 – Moving to the states, the EBS competition scene, reckless biking, and getting beat by his younger brother  24:26 – Transitioning from a gym kid to a Red/New River Gorge kid  28:36 – Traveling out West from the Red  29:44 – Why Mike switched from La Sportiva to Scarpa, and getting his shoe-game dialed  33:16 – Going to Stanford, taking a year off of climbing (to drink beer), trad climbing, and ripping a pitch on ‘Romantic Warrior’  39:39 – Climbing ‘Astroman’ with Chicken Pox, getting benighted, and descending in broken flip flops  41:07 – Jailhouse, balancing climbing with drinking, and getting psyched in Bishop  43:10 – Mike’s transition back to trad climbing  46:47 – Mike’s climbing philosophy  48:26 – ‘The Rostrum’, offwidths, and the ‘Freerider’  54:08 – Two-day ascents, ‘Golden Gate’, and making it happen with work constraints  56:14 – Try-hard mode, and screaming  59:41 – Stemming corners, and why Mike struggle with the “medium” 5.12 and 5.13- climbing on big walls  1:03:07 – PreMuir excerpt #2, and what Mike learned from Sam about skill and analysis  1:08:28 – The professional mindset, and learning more by getting on harder climbs  1:09:30 – Mike’s pet peeve, and aspirations  1:10:30 – Chaos and anxiety  1:12:42 – Discipline vs. necessity  1:17:27 – How Mike feels at age 33 (and a half)  1:18:41 – Mike’s experience with the Lattice Training Assessment, 12c finger strength, and climbing V13  1:23:37 – What climbing is for Mike, and why he sucks at training  1:24:43 – Patron Question: The Red vs. the New?  1:25:26 – Summersville dam  1:27:21 – The New  1:27:52 – Patron Question: Favorite sector at the Red? The New?  1:28:55 – Patron Question: Climbing heroes?  1:29:59 – Poems  1:31:14 – Lunch (in Russian), baking bread, and speaking Russian  1:33:52 – The man with no arms, growing up in a starved Russia, and a lot to be grateful for  1:35:27 – The Salathe Headwall, Just Do It, and hanging up the boots  1:38:44 – Plans with Nathan Hadley, route development, learning from others, and surviving ‘Vanishing Point’  1:41:42 – PreMuir excerpt #3

Kelcee L. Smith lends her expertise on the endangered sawfish species as she and Craig examine a rostrum from the museum's collection. Kelcee is a Biologist and PhD student at Louisiana State University, Baton Rouge.

Katie Lambert is an elite rock climber in just about every discipline of the sport. She is also a contributing author for Climbing Magazine, owns a business, and has a master’s in nutrition. We talked about the film Pretty Strong, her training and how she balances the many disciplines of climbing, and nutrition recommendations for climbers.  Support on Patreon:patreon.com/thenuggetclimbing  Show Notes:  http://thenuggetclimbing.com/episodes/katie-lambert  Nuggets:  2:15 – Pretty Strong  4:19 – ‘Father Time’ breakdown, blood blister, dropping the tape, and deciding to go into support mode  9:45 – “A big part of climbing is failing.”  10:49 – What Katie learned from climbing with Nina, and vice versa   13:16 – Deadlifting to fix low back pain, the Birdo challenge, pulling 235 lbs, and how deadlifting has helped her climbing  18:11 – Iron Dragons  19:17 – Pinch training and hangboarding  24:36 – Sunday Funday  25:08 – Training power for a trip to the Red, and bouldering circuits (inside & outside)  26:57 – Campusing exercises, the importance of focusing on speed when training power, and campusing endurance  28:24 – The routes Katie was training for at the time  29:26 – Being a multi-discipline athlete, and how Katie thinks about structuring her climbing/training year  32:42 – Why Katie prefers the free-in-a-day style of big wall climbing  34:25 – Linking up ’The Rostrum’ and ‘Astroman’, Katie’s “little suffer bunny”, and feeling fit from The Hulk  36:39 – Goals for future linkups and quick ascents and plans to go back to ‘Father Time’  39:52 – Katie’s go-to climbing shoes  40:58 – “I know who I am and I know what I’m doing.”  44:10 – Why Katie recommends that newer climbers (less than 5 years) just climb a lot in a variety of styles instead of focusing on training  46:24 – How learning offwidth techniques has helped Katie with tufa climbing  48:07 – The one kind of training Katie wishes she had started doing earlier and would recommend for climbers  48:54 – Katie’s three go-to strength exercises, and fingerboarding for healthy fingers  50:59 – Past ankle and finger injuries, why Katie avoids climbing in the cold, and being clammy and cold  53:54 – Katie’s favorite Rhino Skin Solutions products and how she uses them  54:51 – Rehab ideas for elbow tendonitis and finger injuries, and why just taking time off isn’t necessarily the best rehab strategy  1:00:18 – What Katie wishes she knew when she was age 20  1:01:47 – Same question for age 30, noticing a trend of tendon injuries climbing in the cold, my own experience with a finger injury  1:03:38 – How dehydration plays a role in finger injuries, electrolytes, and Katie’s favorite hydration cocktail for cold days  1:04:19 – Masters in nutrition, Bishop Cowork, writing, and nutrition coaching  1:05:30 – Two key nutrition tips/takeaways for climbers, recommended intake of water per day (1/2 fluid ounce per lb of bodyweight minimum), and climbers as sugar burners  1:07:51 – How Katie eats in a day  1:10:10 – Eating red meat, why Katie is into local and sustainable food and why she feels so lucky being in Bishop, Polyphase Farm, and the challenges of feeding a growing population  1:13:52 – Some of the side effects of a crappy diet, why diet is important (even if you look fit), and some of Katie’s recommendations  1:17:29 – Katie’s recommendations for those that want to stick to a vegetarian or vegan diet  1:18:12 – Nuts, and why Katie recommends eating them raw/soaked, and why she recommends avoiding peanuts and processed nuts and nut butters  1:20:00 – Katie’s recommendation for daily protein intake (1 gram per lb of bodyweight—it’s ok to start with 75% of that)  1:22:54 – Writing, why Katie is stopping her column at Climbing Magazine, and working on a cookbook  1:24:24 – Founding and running Sacred Rok  1:26:50 – Being sick for 24 days, gratitude for health, and “it’s a man thing” (being pathetic when we get sick)  1:28:26 – Katie’s upcoming trip to the Red  1:29:09 – Melt Down  1:31:22 – Being a lifer, why Katie loves Bishop, and moving to France if Trump wins the election  1:33:20 – V11 as a goal  1:33:57 – “We’re really lucky to climb.”  

Glasbeni uredniki Radia Slovenija – programa ARS, Radia Maribor, Radia Koper in studia Nova Gorica – smo za vas izbrali najboljše in najodmevnejše glasbene dogodke leta, ki se končuje. Kaj in kdo je zaznamoval domače glasbeno prizorišče? To so: • nekateri odlični solisti, ki so koncertirali z orkestroma Slovenske filharmonije in Simfoničnim orkestrom RTV Slovenija, • koncerti in recitali pianista Aleksandra Gadžijeva, • nastopi Irene Kavčič, Tommasa Lonquicha in godalnega kvarteta Zaide ter Tria con Brio v Novi Gorici, Ljubljani in Mariboru, • dirigent Paul van Nevel in zbor Slovenske filharmonije, • zmaga Petre Strahovnik na mednarodni skladateljski tribuni Rostrum, • koncert Pop Arta, • 100-letnica ljubljanskega Konservatorija za glasbo in balet ter 80-letnica Akademije za glasbo, • koncert v sklopu 4. Filharmoničnega baročnega festivala, • zborovski festival Aegis Carminis in Simfonija Kopra, • tekmovanje Gallus in koncert Irene Grafenauer s prijatelji ter • 100-letnica mariborske opere.

Vitaliy Musiyenko is the most prolific climber of long new routes in the Sierra in modern history. This summer was no exception, including one line that recently was called "The Rostrum of Sequoia." In this interview with AAJ contributing editor Whitney Clark, Vitaliy describes how he transformed from an overweight and apathetic high schooler to the master of modern Sierra climbing, plus the joys of 18-mile approaches, his planned guidebook to the Range of Light, and how every age of climbing can be a "golden age." The Cutting Edge is sponsored by Hilleberg the Tentmaker. This podcast is produced by the American Alpine Club.

South Dakota has new law that public schools will display the national motto, “In God We Trust”, and many people are unhappy about it. Every circuit court has deemed it constitutional and it has been upheld that the motto has nothing to do with the establishment of religion. Learn more at FirstLiberty.org/Briefing. Under a new law, South Dakota’s public schools will now display the national motto on school property.  But, not everyone is very happy displaying “In God We Trust” on public property.  One anti-religion activist called the idea “exclusionary and aimed at brainwashing American schoolchildren.”  Well, the only brainwashing seems to come from anti-religion activists with a bent to exclude, based on inaccurate information! Indeed, few words are more in keeping with our history and law than the National Motto.  Francis Scott Key included the line, “And this be our motto: ‘in God is our Trust’” in the further verse of the Star Spangled Banner. It went on our coins in 1864 and became the official motto in 1956, a year before it appeared on all our currency. It’s even displayed above the Speaker’s Rostrum in Congress! Every one of the 11 circuit courts of appeal to consider the motto has deemed it constitutional.  The Ninth Circuit has twice upheld the motto, explaining in one case that the motto “has nothing whatsoever to do with the establishment of religion.” So, the next time you hear someone suggest that it violates the constitution, just use the words of the Sixth Circuit who determined that a court removing the motto from government property would be “ludicrous.” To learn how First Liberty is protecting religious liberty for all Americans, visit FirstLiberty.org.

Í þættinum er rætt við Valgeir Sigurðsson tónskáld og hljóðupptökustjóra í tilefni þess að verk hans Dust lenti á úrvalslista Alþjóða tónskáldaþingsins Rostrum of composers á dögunum - í lok þáttar hljómar verkið í heild sinni. Umsjón: Arndís Björk Ásgeirsdóttir.

Í þættinum er rætt við Valgeir Sigurðsson tónskáld og hljóðupptökustjóra í tilefni þess að verk hans Dust lenti á úrvalslista Alþjóða tónskáldaþingsins Rostrum of composers á dögunum - í lok þáttar hljómar verkið í heild sinni. Umsjón: Arndís Björk Ásgeirsdóttir.

Kelionėje su klasika – radijo laidų vedėjos, muzikologės Jūratės Katinaitės įspūdžiai iš Argentinoje vykusios 66-osios tarptautinės kompozitorių tribūnos „Rostrum“. Vėliau pianistas, fortepijonų derintojas Audrius Blažiūnas kvies paskanauti muzikalių „Rūgštynių“. O laidą vainikuos armėniška muzika. Ved. Gerūta Griniūtė.

V oddaji Glasbeni utrip izpostavljamo zmago slovenske skladateljice Petre Strahovnik na mednarodni skladateljski tribuni Rostrum v Argentini, izvedbo vokalno-instrumentalne scenske zgodbe Fauvel ’86 Lojzeta Lebiča in ljubljansko premiero Donizettijeve opere Lucia di Lammermoor. V nadaljevanju oddaje bomo predstavili še sklepni koncert orkestrskega cikla Narodnega doma Maribor, na katerem je nastopil Danski komorni orkester, premiero Gounodovega Fausta, ki zaokroža operno sezono SNG Maribor, prvi koncert nove sezone cikla SIBRASS, nastop avstrijskega ansambla Black Page Orchestra v sklopu cikla Zvokotok, jubilejni 30. letni koncert Mešanega mladinskega pevskega zbora Veter Ljubljana, Spominski koncert ob 20-letnici smrti Huberta Berganta in četrtkov koncert Simfonikov RTV Slovenija v okviru cikla Kromatika. Prav ob koncu bomo nekaj besed spregovorili še o tržaški premieri opere Andrea Chénier Umberta Giordana.

Víðsjá 16.5.2019 Á laugardag, 18. maí, er áratugur frá því að langvinnu og blóðuðu borgarastríði lauk á Srí Lanka. Í Víðsjá í dag ferðumst við til þessarar litlu paradísareyju í Indlandshafi og skoðum hvernig heimamenn minnast stríðslokanna. Skoðaðir verða minnisvarðar um stríðið og því velt upp hvað þeir geta sagt um framtíð landsins. Gígja Hólmgeirsdóttir á útstöð RÚV á Akureyri fer fyrir okkur í Listasafn Akureyrar og ræðir við Hlyn Hallsson, safnstjóra,um vorsýningu safnsins sem opnar um helgina. Halla Þórlaug Óskarsdóttir sendir pistil frá Gautaborg. Að þessu sinni fjallar hún um eyjur, tímaleysi og mikilvægi þess að treysta þ ví sem heimurinn birtir manni á hverri stundu. Auk þess verður rætt við Guðnýju Dóru Gestsdóttur safnakonu og formann Íslandsdeildar Icom um Alþjóðlega safnadaginn sem er á laugardaginn og áskoranir í starfi safna. En fyrst er rætt við Arndísi Björk Ásgeirsdóttur sem er með íslenska tónlist á tónskáldaþinginu Rostrum í Argentínu þessa dagana. Umsjón Guðni Tómasson og Kristján Guðjónsson.

Sel nädalal toimub Argentinas San Carlo de Bariloches rahvusvaheline heliloojate rostrum.

Sel nädalal toimub Argentinas San Carlo de Bariloches rahvusvaheline heliloojate rostrum.

Suomalaissäveltäjät Outi Tarkiainen ja Ville Raasakka osallistuvat Ylen valitsemilla teoksillaan kansainväliseen nykymusiikin Rostrum-katselmukseen Argentiinassa. Ylen klassisen musiikin toimittaja Ainomaija Pennanen kertoo, miksi juuri heidät valittiin Suomen edustajiksi. Tarkiainen ja Raasakka valaisevat vaikutteitaan ja taiteellisia kunnianhimojaan. Juontajana on Jakke Holvas.

Glasbeni uredniki Radia Slovenija – programa ARS, Radio Maribor, Radia Koper in studia Nova Gorica smo za vas izbrali najboljše in najodmevnejše glasbene dogodke leta, ki se končuje. Danes torej Glasbeni utrip nekoliko drugače. Kaj in kdo je zaznamoval domače glasbeno prizorišče? • nastop orkestra Münchenske filharmonije v sklopu 66. festivala Ljubljana, • koncerti in recitali pianista Aleksandra Gadžijeva, • pleterske štimanice, za katere se zdi, da pozabljene tiho ždijo v stari pleterski cerkvi, • 70-a obletnica ustanovitve glasbenih šol v Kopru, Ajdovščini in Novi Gorici, • uspeh Luke Juharta na mednarodni skladateljski tribuni Rostrum, • novi koncertni cikel sodobne glasbe Odkritja 26, • zadnja izvedba festivala Slowind, • Bienale sodobne glasbe v Kopru, • nastopa kontratenorista Franca Fagiolija v sklopu zlatega abonmaja, • gostovanji Plácida Dominga in Lea Nuccija ter • 100-letnica poklicnega ljubljanskega baleta in orkestra ljubljanske opere.

The Concordia 2018 summit was great. Vibrant, weighty, and filled with fascinating people. We are delighted to have been there and spoken to two of the most interesting for this week's Rostrum. The post Octavian at the 2018 Concordia Summit appeared first on Octavian Report.

Mark Wellman is a nationally acclaimed author, filmmaker and motivational speaker. Despite being paralyzed in a mountain climbing accident, Mark has inspired millions to meet their problems head-on and reach for their full potential. A two-time Paralympian and former Yosemite Park Ranger, Mark's NO LIMITS philosophy encourages individuals to adventure into new horizons; to go beyond the seeming unreachable. Mark is used to being on the road since he travels throughout the year, bringing his adaptive climbing wall to companies, organizations, and schools. We caught him during one of his road trips and he agreed to swing by Golden, Colorado to the No Barriers podcast studio and catch up with his old friends, Jeff, Dave, and Erik. Mark is unbelievably accomplished but also reserved and humble. He talks about his legendary, groundbreaking athletic achievements with the same tone most use to describe what they had for lunch. But there was a time in Mark's life where he was unsure, depressed, and hopeless with no clear path ahead. Mark discusses his near-death injury that he sustained on a climb that left his paralyzed from the waist down. He spent months in the hospital unsure of how to go forward and lost. That was, until he received some wisdom. I had this one physical trainer, she was from Germany, and she said: “You need to train like your training for the Olympics!” And I just really took that to heart.” Mark first was determined to find employment where he could stay connected to the outdoors. So, he went back to school and got his degree in Park Management. He worked as a Park Ranger in various capacities, already shattering people's ideas of what he was capable of, but that was just the beginning. He soon discovered the world of adaptive sports and threw himself into learning more and designing his own adaptive equipment to get back out into the field. It was then he came up with the crazy idea of climbing the sheer granite face of El Capitan. He found a partner, built an ascending rope pulley system, and started to train. Now, folks of many different abilities have climbed El Cap, but until Mark, this was unthinkable. He pulled it off and became the first paraplegic to make the ascent. “Are you crazy to take this paraplegic guy up El Cap? Seems like a really stupid idea. Something could go wrong,’ but fortunately we didn’t really listen to that.” Mark went on to gain tons of media attention, made national and international news, met the President, lit the flaming torch up a 120-foot rope at the Paralympic games in Atlanta; a fun story he shared with us, and continued on to break even more records of athletic achievement, like being the first paraplegic to sit-ski unassisted across the Sierra Nevadas. Listening to Mark describe his epic achievements it's easy to forget he has a disability or about all the struggle that led him to this point in his life. But for Mark, it's about mindset. “I learned my disability wasn’t a death sentence - let’s get on with life, dude!” But Mark wanted to share what he learned with others. He details the spark of an idea he had with a friend that led to the formation of the nonprofit, No Barriers, and the humble beginnings of an organization that is now becoming a movement. He uses his time to speak to groups and offer inspiration, as well as lead hands-on adaptive activities that get people out of their comfort zones. “Let’s get out and enjoy life.” Read Mark's Autobiography Here Visit Mark's website: No Limits Learn more about No Barriers autobiography Climbing Back. The first paraplegic to sit-ski unassisted across the Sierra Nevada Mountain Range, --------------- EPISODE TRANSCRIPT ------------------------- Dave: Well welcome to our No Barriers podcast. We are thrilled today to have Mark Wellman with us, who's one of the founders of No Barriers. Can't wait to hear some of his stories about what this organization was founded upon. He's really the heart and soul behind why many of us are here at the organization. Before we get into that conversation, Erik, you just came back from a really interesting experience, why don't share with our listeners a little bit about it? Erik: [00:00:30] Yeah, I was at a conference with all these authors. There were four of us, and the first was a lady, she was the author of Hidden Figures, this great book that was made into a movie, these African American women who were behind getting us to the moon, didn't get any credit at first, but then their stories were really illuminated by her book. And this guy who is falsely sent to death row for 30 years. He was incarcerated- Dave: Wow. Erik: In a five by [00:01:00] seven room, had to kind of go into his mind and think about how to expand his mind. He said in his mind he married Halle Berry. They were married for 25 happy years. Dave: When was this set? Erik: Recently. Literally just got out of ... he got out of jail, no apology from Alabama. But he wrote this amazing book, so ... And then a lady who wrote a book called Beauty Sick, mostly [00:01:30] about girls who struggle with body image, and how much productivity is lost in the world because girls are having to pay attention to makeup, and weight, and all the things that they worry about. Guys too, but mostly the focus was on girls, and I have a daughter, so I was sitting there just hanging on every word, thinking about my daughter and her struggle, so it was really book because it was four very No Barriers... Dave: That's a lot of No Barriers. Erik: ...authors right there. [00:02:00] Maybe we'll get them on the podcast at some point. Dave: That sounds like perfect fit for the kinds of topics we explore. Erik: Yeah. And I am totally thrilled... this is great. I'm so psyched to have my friend, all our friends, Mark Wellman on the podcast today. Dave: The legend. Erik: The legend, the dirt bag... is that okay to say? Mark: Yeah, yeah. Dave: You embrace it, right? Mark: It's great to be here. I embrace everything. Erik: Mark almost doesn't need an introduction, but Mark is [00:02:30] a world class adventurer, and an innovator, and is the key founder of No Barriers. Has done amazing things that blow your mind as an adventurer. Has skied across the Ruth Gorge. Has traversed the Sierra Nevada mountain range. Has mountain biked the White Rim Trail. Has climbed El Capitan, Half Dome. We were just talking this morning, your Half [00:03:00] Dome ascent was 13 days? Mark: Yeah, it was. Erik: On the wall. Just, Mark, a hero of mine for sure. You're a few years older than me. When I was a teenager and you were just a little bit older climbing El Capitan and doing all these amazing adventures, you were a huge part of my motivation, so I'm psyched right now. Mark: It's great to be here, thanks a lot Erik. Yeah I guess I could [00:03:30] start off with... 35 years ago I was an able bodied climber and we were climbing a peak called Seven Gables, which is pretty close to the Mount Whitney area. We had a 20 mile backpack to get into the base, and this is back in 1982, I was 22 years old. My good friend Peter Enzinger and I were back there to do this climb. [00:04:00] We set up a base camp about 10,000 feet, and the next morning we got up pretty early, grabbed our technical rock climbing equipment and left most of our provisions at the base camp, our sleeping bags. Sure would have been nice to have that sleeping bag with us but didn't have it. And we climbed Seven Gables. It was sort of technical, kind of a mixed route. There was a little bit of ice, a little bit of rock, and made [00:04:30] the ascent. By the time we topped of it was a little bit late in the afternoon, about five o'clock. We just embraced this beautiful view from the summit. American Alpine Club places sometimes these cairns, or climbing registers, at the top of the mountain. It was kind of cool to see this. In this case it was just a pile of rocks with a Folgers coffee can. And I opened up the Folgers coffee can and dumped out the little pieces of paper, and there's my [00:05:00] hero Royal Robbins had climbed it. "Cool man, I'm gonna put my name next to Royal." Did that, and then we decided we're gonna go down a class four descent on the backside, just scrambling, not roped. We were just kind of walking down a tail of slope. I'll be the first to kind of admit my guard was down. My partner said, "Hey, maybe we should put a rope on [00:05:30] this one section here." I go, "No, no. I wanna get down to base camp, I'm really hungry. There's some really good freeze-dried food I wanna eat." You know that wonderful Mountain House stuff. Erik: And 35 years ago. Dave: Delicious. [crosstalk 00:05:44] Mark: So next thing I knew, I slipped on some scree, and I pitched forward and I started rolling. I made a couple of somersaults and I rolled off about a 100 foot cliff. When I landed I broke my lower back at T 11, T 12. Of course at the time I didn't know it. [00:06:00] I was 22, I didn't even know what a wheelchair was. That happened, and my partner thought I possibly could have been killed. But he heard me yell back at him. He got down to where I was... he said he spent a couple hours with me stopping some bleeding on my legs, and some other stuff. Jeff: What's your recollection of that period of time... Mark: He said he was with me for two hours, it felt like ten minutes. Erik: Right. Mark: And then he left. [00:06:30] He left an orange, an extra jacket, and some trail mix and said "Man, I gotta get out and get some help." So after 30 hours, the best sound I've ever heard in my whole life was the sound of this... [helicopter sounds] ...coming up the canyon. Erik: You almost froze to death. Mark: It was cold that night. Yeah it was real cold. I was laying on some ice. That probably helped because it kept the swelling down in my back. So I'm an incomplete [00:07:00] para. I have a little bit of movement in my legs. They said that might have helped me, the swelling. But the helicopter got up there, it was actually a ship from the Forest Service. They were gonna just go up and see if it was more of a body recovery, but fortunately I waved to them and the helicopter disappeared. About an hour later, a second helicopter came up and this time was from Lemoore Navy Base, and they did [00:07:30] a technical rescue. Flew in, brought the rotors within several feet of the cliff surface, lowered a navy medic, got me in a stokes litter, got me back up into the ship. I was down at a trauma center, they were cutting my clothes off, and a nurse said, "Who's your insurance company?" And fortunately I did have insurance, I had Kaiser. I went through stabilization of my back with Harrington rods. I was in the hospital in 1982 for seven months. Dave: [00:08:00] Wow. Erik: Including rehab? Mark: Including rehab and the whole nine yards. And nowadays, a paraplegic if you go to Craig Hospital, it's kind of the factory up here in the west. A paraplegic will be in the hospital for about six weeks. It's pretty dramatic... in those days, it was a much longer hospitalization. Learning how to take care of yourself. And then... Erik: More time is better, right? I mean, [00:08:30] would make sense right? You can develop more time? Mark: Yeah, a little bit. I think seven months was a little excessive. Erik: Right. Mark: But you know, there's a lot to learn. Your life has really changed. Your spinal cord runs your body, and you're paralyzed from your waist down. You have bowel and bladder issues. You have skin issues you have to be careful about. So all those things were really important, and I had this one [00:09:00] physical therapist who was from Germany and she goes, "You need to train like you're training for the Olympics." I just really took that to heart and started lifting weights. Was ambulating with long leg braces. This was sort of the beginning of the wheelchair revolution where wheelchairs weren't a stale piece of medical equipment, they were a lightweight piece of aluminum that was more of an extension of your body. And the wheelchair [00:09:30] could take you from point A to point B. Fortunately, in 1982 was really when these wheelchairs... they started making lightweight chairs. And I was a part of that. Erik: Not the clunky Vietnam-era things, right? Mark: Exactly. The old Everest and Jennings chairs were more obsolete, and they were using... well there was a woman who started Quickie wheelchairs, Marilyn Hamilton, she got hurt in a hang gliding accident. They took hang gliding technology, clevis pins, aluminum, powder coat. [00:10:00] And they kind of messier of manufacturing these wheelchairs sort of like... taking the technology from hang gliders and applying it to wheelchairs. Erik: We're still less than ten podcasts in here, but we've already heard a lot of stories of people... these No Barrier stories of people who go down deep into these dark places. I don't want to bring you down, but you have a lot of experience right now and so you can look back. You went to a dark [00:10:30] place, obviously. Mark: Yeah. It was close to saying goodbye to this Earth. Fortunately I made it through. I remember getting back into rehab, then I met a state rehab counselor who said, "You know Mark, you have this great love, this great passion for the outdoors, why don't you become a park ranger?" And I'm thinking, "How's somebody in a wheelchair gonna be a park ranger?" I'm thinking [00:11:00] law enforcement, search and rescue, and she goes "No, there's many hats in the National Park Service, or many different jobs." She took me down to Fort Funston where I met a ranger who kind of showed me the ropes and said "Hey, you could maybe do a job, this would be an entry level position, but you could help us plant dune grass and work in the nursery, or you could go to the entrance gate and help out there." [00:11:30] So I did that for a summer and then I went back to school and went to West Valley College and studied park management. Erik: Cool. Mark: And became a ranger at Yosemite. I remember my first job wasn't exactly my idea being a ranger. There I was sitting in this little kiosk, this little booth, at Big Oak Flat, the entrance to Yosemite. In those days it was a three dollar entrance fee and I'd collect the money and be breathing in auto fumes all day long. That really wasn't [00:12:00] my idea of being a ranger. But it was entry level. The next summer I went down to Yosemite Valley and started working at the visitor's center doing interpretation. Interpreting the natural processes of the park, the public. Bear management, geology, climbing was a big subject too. I'd give programs on climbing, talk about A climbing versus free climbing. Jeff: Were you transparent with people that would come through the park, with how your injury took place? [00:12:30] When you'd talk about the [crosstalk 00:12:31] Mark: I was, I was. I would start my climbing program off with my accident, actually. And bring that in, because I think that was a big part of it. They might say, "Well who's this guy in a wheelchair, what does he know about climbing?" I'd kind of bring that in. That was before I climbed El Cap, I was doing those things. Jeff: Were you percolating on doing something like that when you were there? Mark: I was. It's kind of an interesting story. There was a magazine called Sports And Spokes, it was a wheelchair [00:13:00] athletic magazine. On the front cover on that magazine was a DSUSA chapter, a woman who was being lowered down a cliff in a wheelchair on a river rafting trip. The river went over a waterfall, and then you did portage all the equipment around the waterfall. They had a swami belt and a climbing rope and they had a helmet, I guess they wanted to put a helmet on her for safety, sounded like a good idea. And they lowered her down this cliff in this wheelchair, [00:13:30] and it was on the front cover of this magazine, Sports And Spokes. I got the magazine at my little cabin in Yosemite and I had it on my lap. I was wheeling over to the visitor center to open it up in the morning, and I bumped into my future climbing partner Mike Corbet. And Mike's nickname was Mr. El Cap back in the 80s, he had climbed El Cap more than anybody else in the world, over 50 times. And Mike had never really talked about climbing to me because he knew that's how I got hurt. But when [00:14:00] I showed him this picture, Mike's eyes got really big, and he got really excited. He goes, "You know what Mark, I wanna start climbing with you, but what I really wanna do is climb El Cap." And we had no idea how we were gonna do it. Dave: That's great. Mark: That evening, we were sitting at the mountain room bar, we might have had a beer or two. Dave: Or three. Jeff: That's where all good decisions are made. Mark: Where all good decisions are made. So we had a little beer napkin and we started writing down notes. We said, "Okay, [00:14:30] we're gonna take a jumar..." A jumar is a rope ascender, this was back in the day, kind of like what Kleenex is to tissue. So we took a jumar, and we mounted a pull up bar and a jumar, and then we had a second ascender on a chest harness. And we put a rope up right by the Ahwahnee Hotel. Church ball tree. It was an oak tree. We had this rope and we started ascending up into the tree and then he'd lower me back down. So we go, "Okay, [00:15:00] so a paraplegic can ascend a rope using their upper body strength. Now to get on El Capitan, we got to actually protect your lower extremities from the granitic rock." We knew we were gonna be up there at least a week. I don't have feeling in my legs, so I really needed to protect my legs from any kind of abrasion or any kind of sore that could have occurred up there. We went down to this hardware store in Fresno, California outside [00:15:30] of the park. We bought some leather, a speedy stitcher, some closed cell insulation foam, and we just started making these rock chaps and they sort of evolved over a course of six months. We were climbing Jam Crack, Warner's... Erik: Weren't they... what was the material of those? I've felt your chaps before. That sound's weird... Dave: The truth comes out. Jeff: Hey, we're all friends here. Mark: The original [00:16:00] rock chaps were made out of leather and canvas. But the pair of rock chaps you felt were actually made out of some kind of silky material. No, no... Dave: Oh that was lingerie? Not chaps. Jeff: This was the first No Barriers improv meeting, what you're talking about, with your buddy Mike. Mark: Absolutely. Jeff: That was it, that was the genesis of what... fast forward to today, that was the beginning. What [00:16:30] year was that? 1980... Mark: That was 1988. Jeff: 88. There you go. Mark: Yeah 88. I was 28 years old. Erik: So if you think about it that way, No Barriers began in the Ahwahnee bar. Jeff: Yeah, on a bar stool. On a bar napkin. Dave: I know you guys are all dirt bag climbers. I'm not a dirt bag climber. For our listeners who are not dirt bag climbers, someone paint a picture, because we're getting to the El Cap story. Which is a phenomenal story. Paint a picture of El Cap for us, because not everyone knows what that is. Jeff: Yeah, well. El Cap [00:17:00] is probably the most revered, iconic, monolith in North America if not the world. Uninterrupted, over 3000 feet of granite. It is... when you're in Yosemite, you look up at it and it's got this perfectly symmetrical flank apron on both sides that comes out into this promontory called the nose. And [00:17:30] you can't take your eyes off it. If you look away for a minute, you have to look back at it just cause it's so magnificent and powerful. And it represents so much too. If you want to call yourself a climber, you kind of have to climb El Cap at some point. Erik: When you stand in the meadows below, which is just clogged with tourists just all driving by gawking. What I've heard, is you have to look up and up and up, way higher than [00:18:00] you think you have to. Dave: And if you see a person climbing, as a person who's not a technical climber speaking, you think "Those people are crazy. They're insane. What are they doing up there?" Jeff: Erik and I climbed El Cap. And his dad, Erik's dad, and future wife were down there in the meadow with telescopes watching us. We had one of those little lighty things, little sticks, and we were shining our headlamps down at everybody. It's [00:18:30] a magnificent thing, but it's also very intimidating. It can be very cool when you stand up and look at it, but then the idea of going and climbing it I think is a whole different story. Erik: And as a quote on quote gimp, and that's a word by the way that Mark taught me. I never even heard that word before. It's one of those words I guess you somehow have the license to use if you are... Mark: If you are. Erik: If you are in a chair or you are blind. So what did, when you talked about this out loud, what did people [00:19:00] think? Are people like, "You're nuts." Mark: Yeah, we had kind of a mixture of both. People that knew us, were "Oh yeah you guys should go do this." Mark's been training, he's always skiing, always riding his bike, hand bike around... well in those days it was more of a row cycle. And then we had people say, mainly not to me so much but more to Mike, "Are you crazy? Take this paraplegic guy up El Cap? Seems like a really stupid [00:19:30] idea. Something could go wrong." But fortunately, we didn't really listen to that. We just started training, we made these rock chaps. Like I said, they kind of just evolved over about a six month period. We kind of have a little circuit in Yosemite Valley that we climbed together. We did Jam Crack, the Prude, Warner's Crack, The Rostrum, we went over there. Erik: Oh, wow. Mark: So we did some stuff in the Valley [00:20:00] just to really warm up. And then I actually went up and spent a night on El Cap. Because we wanted to feel what that was like. Jeff: Up at sickle? Mark: We actually went to Heart Ledge. Erik: Wow. Jeff: Over on the south. Mark: Yeah, over on the south. The route we were gonna climb was a shield. So... Jeff: Cause it's overhanging. Mark: It was overhanging... once you get over the shield roof it's overhanging. The beginning of it's not. It's pretty low angle. Jeff: Were you scared at all before you did this or [00:20:30] were you just super fired up and kind of naïve? Mark: I was scared the night before. Jeff: You were. Mark: Yeah. Jeff: Like really scared? Mark: Yeah I was... couldn't sleep. This kind of what happened was... really Mike, about two weeks before we're gonna blast off, Mike goes, "Man we've trained so hard for this, I'm gonna write a letter to Tom Brokaw..." who is the national NBC News guy, who is a climber too, a little bit. And, I'm going, "Okay... " so basically [00:21:00] Corbet just wrote out a note with a pencil. He was a janitor at the Yosemite Medical Clinic to support his addiction to climbing. He just wrote a little note to Tom Brokaw, and I think three or four days later he's talking to... Tom Brokaw called the medical clinic and talked to Mike, and said "We want to come out and do this story." Erik: Gosh. Mark: And all of a sudden the pressure was on. That's when I really was thinking, "Wow you're telling national news, this is gonna add [00:21:30] a lot more pressure for myself." But as soon as we got to the base of El Cap and I touched that granite, all that training and preparation really got into par, and I got relaxed. I started doing pull up after pull up, dragging myself up the largest unbroken granite cliff in North America, El Capitan, and the first night... we do something called, we fix pitches. So we were fixed [00:22:00] up about 800 feet. So we had... Mike used to say, "It's always nice to kind of have a jumpstart." Erik: Right. Mark: You know, fix those lines, get all your water, we had 250 pounds... Erik: It's like a trail of ropes that go up 800 feet so you can just... Mark: The next morning... Erik: Start on the ground and zip up 800 feet and have like a jumpstart on this gigantic monolith. Mark: Exactly. And have all your water, all your gear up there. So he had to work three or four days to make that happen prior to us [00:22:30] leaving. Once we left Mammoth Terrace, we were on our own. We went through the Gray Ledges, and we went over... the roof was really tremendous. Because Mike is basically climbing upside down, and then gets up onto the pitch above it and fixes a rope. Then I kind of untied myself and I swing underneath that roof, and you can hear the cheers of the people down below. It's like [00:23:00] what Jeff was saying, It's quite a scene at the El Cap meadow. You really have to have binoculars. It's hard to see climbers up there, because they're so tiny, they're like little ants up there. If you don't know what to look for, it's hard to see these people. The crowd was yelling, and the green dragon would come by. It's a tour vehicle that has it's open air shuttle. Erik: "If you look upright you will see a nutcase [00:23:30] climbing El Capitan." Mark: We could actually hear them talking about "Mike Corbet, Mark Wellman, first paraplegic..." So that was kind of interesting. Finally when we topped out, it was seven nights, eight days of climbing. This was before digital technology on El Cap, when national news came out. They had a mule train, they brought out a satellite dish that was like five feet wide, and we were live on top of El [00:24:00] Cap talking to Tom Brokaw. Jeff: Sick. Mark: And we've got... between the Today Show and NBC News, and in a week we were on TV for like several hours if you took all the time that they played this. There wasn't really much going on in the news, so they really kind of played this story up in a big way. As soon as we got off that climb, about a week later, we're sitting in the Oval [00:24:30] Office talking to President Bush. It was myself, Mike Corbet, "Writtenaur" who was Secretary of the Interior, and Jack Morehead, superintendent of Yosemite. The four of us are in the White House, in the Oval Office, talking about bone fishing because President Bush loved to bone fish and we presented him with a flag that we took with us on the climb, and it changed my life. Erik: Mark, so you're not that old, but I see [00:25:00] you sort of as the father of adventur e sports for people with disabilities. I want people to understand that the idea to climb El Cap back in the 80s... nowadays, I think... how many people have climbed El Cap in chairs, paras? Mark: Oh the chairs? Erik: Dozens, right? Mark: Yeah, dozens. Erik: But you sort of unleashed that. You opened up this door. And now, quote on quote gimps are doing everything, right? Mark: Every summer there's [00:25:30] a paraplegic. Erik: But you opened that door for all of us. So, it's sort of a crazy thought to me. Mark: It is. You can't take the first ascent of El Cap, you can't take that away from me. That's something I'll always remember. It was a huge accomplishment for both Mike and I, and there's been different paraplegics who have gone up it. A gentleman with cerebral palsy, Steve Wampler, was probably the most [00:26:00] disabled person that's been up there. Lots of amputees. I call them amputees, hardly disabled. Paraplegics wanna be amputees. Erik: Those will be our first complaint letters. Dave: Exactly. [crosstalk 00:26:15] Mark: Quadriplegics wanna be paraplegics. Everybody has their differences. There's been a quadriplegic, incomplete quadriplegic, climbed El Cap with Tommy Thompson, good climber. [00:26:30] Steve Muse. Erik: There's that kid who climbed The Chief, he was inspired by you. Mark: Yep. Erik: He was a quad, and he climbed The Chief. He invented kind of this, almost like a contraption with wheels if I remember right, that kind of rolled up the face. Mark: Yeah it was... the premise was taking the Dolt cart. A climber by name of Dolt had this cart and he used to use it for a hauling system on El Cap. Brad "Szinski", the Canadian guy you're talking about, he came up with this [00:27:00] cart. His hands didn't really work as well as a paraplegic, he lost some muscle mass in his hands and fingers. So he had a different type of system where he could ascend a rope using a crank, and developed that. So there's been all kinds of different adaptations that allow people that are wheelchair users to go rock climbing. Jeff: This sort of set you [00:27:30] on this course to being an improvisational pioneer, those are my words. Were you like that always or do you feel like your accident cued you up for this opportunity to then over the past thirty years... Mark: Thirty five. Jeff: Yeah thirty five years. Now you've continued this trajectory of being this pioneer when it comes to just making it work. You make it work, right? Mark: I was so young. When I got hurt [00:28:00] I was 22. I wasn't climbing big walls, I hadn't got to that point yet of climbing El Cap. Finally, when I did have my accident it kind of made sense. The steeper the climb for somebody in a chair the better. Mountaineering is gonna be really tough. There are ways of doing mountaineering. We got four paraplegics on top of Mount Shasta. Erik: Yep. Mark: And there was a guy named Pete "Rikee". It's funny... people [00:28:30] come to me if they've got an idea, a lot of times they'll want me to be a part of the project. Least... Erik: That was a pod that they were in, that had almost like tractor wheels, right? Mark: Exactly. What we did is we took a snowmobile and cut the snowmobile track in half and made a tractor stance. So you have two tracks and a seat with a bicycle crank, and we actually crank our way up Mount Shasta. We had to get special permit from the Forest [00:29:00] Service. You can only be on Shasta for three days, and we knew we were gonna be up there for a week. So I had to drive up... I was trying to explain to this district ranger on the telephone, he really wasn't getting it. Erik: Sometimes they don't get it. Mark: And he wasn't getting it at all. He was thinking mechanical device... Jeff: Motorized... Mark: Right. He knew who I was, so he said "Come up and bring the machine with you so I can take a look at it." So I brought one of the snow pods up there and I met with the district ranger [00:29:30] and a couple of his back country rangers, and they got it. They said, "This is cool man, we'd like to let you guys do this." They gave us a special use permit. The big thing about the Forest Service and wilderness, or National Park Service wilderness, you cannot take... supposedly mechanized devices cannot go into the wilderness. But if you have a disability, your bicycle could almost be considered a wheelchair, or your snow pod can be considered [00:30:00] a wheelchair. Long as it doesn't have a Briggs and Stratton engine on it. That was the big thing, it has to be a manual piece of a gear that's human powered. So we got that, and we got four paraplegics on top of Mount Shasta. Erik: And El Cap really launched you into being able to do all these amazing things, right? You pretty much became a professional climber, adventurer, doing these things around the world. I know you lit the torch for the Paralympics, right? Mark: I did, I lit the Paralympic torch in Atlanta in 1996. [00:30:30] Muhammad Ali lit it for the able bodied Olympics. They had this torch, and the night before we're training for it... it's a big surprise, they don't want to see the person light the torch the night before, no media, so we're out there. I was gonna climb an 80 foot rope doing rope ascension, doing pull up after pull up. And North Face made me a little, kind of a... we envisioned this Robin Hood thing with... behind [00:31:00] my shoulders, this arrow quiver where I put the actual torch in. I didn't wanna burn my hair, what's left of it, so... Erik: You had a lot more hair... Mark: So I said, "Let's make this torch holder so it comes off your legs." So they made that for me. That night we're training, I get up the 80 foot rope, and I lit the fuse and the fuse blew out. Erik: Oh no. Mark: And the pyrotechnics guy goes, it was windy, and the [00:31:30] next day it was gonna be windy too. So the pyrotechnics guy guys... "Okay Mark, I'll make sure this fuse doesn't go out the night you do it." And I go, "Great." So I get up there in front of 80,000 people, I'm climbing up this rope. Liza Minnelli is singing this song and she's going "Go Mark, Go Mark." The whole stadium of 80,000 people is going nuts. So I lit this fuse, and literally the thing blew up. There was fire all over me. And I'm leaning back, hoping I'm not gonna catch [00:32:00] on fire. Then the fuse went up and lit the actual cauldron, and that was the start of the 1996 Summer Olympics. Jeff: You did not combust. Mark: I did not combust. I had the best seat in the house. Erik: You'd be like a Motley Crue drummer. Mark: Exactly. So that was fun. Erik: Takes us on a little tour of what you did. All those amazing adventures that you did after that. Takes us on a little tour around the world. Mark: What a lot of people don't realize, which I think is harder than climbing [00:32:30] El Cap, or spending 13 days on Half Dome was another big ascent we did years ago... but was doing the Trans Sierra ski crossing. I've done it twice now. I did it in 1993, it was a big winner, and I did it in 2011. So we took a cross country Nordic sit ski. You sit low to the ground, you have two skis mounted underneath a frame with a seat, and you're sitting maybe a foot off the snow. And you have two [00:33:00] poles, and you actually double pole. So you're double poling to make this device go down the trail. I was on the US Disabled Nordic Ski Team. Competed in two Paralympics, in France and in Norway. Got beat up by the Finns, the Norwegians, they're so passionate about that sport. Jeff: And they're vikings. Mark: And they're vikings, man. They're so tough. My best finish out of 30 guys was of fifth place, that was in France. [00:33:30] In Norway, I got even more beat up. I wanted to actually get into Nordic ski racing because I had other things I wanted to do. I wanted to try to get into the back country in a Nordic ski. Back in 93 a guy named Jeff Pegles and myself was also on the US disabled Nordic team. We took sleds, little polks, behind our rigs. We had our bivy gear. And we skied 55 miles from Snowline [00:34:00] on the east side of the Sierra on Tioga road, we got someone to open up the gate. Guy that worked for the power company opened up the gate. We got up to Snowline and we skied from Snowline to Crane Flat, which is 55 miles. Jeff: Wow. Mark: Following the Tioga road. Jeff: Just the two of you? Mark: Well we also had Pearlman with us too. Erik: Filming. Mark: He was filming, yeah. Erik: And, you gotta tell the story about the White Rim. So you biked the White Rim, I think you were on one off mountain bikes? Mark: [00:34:30] Yep. Erik: Or some kind of devices, hand crank mountain bikes. And it was so sandy, the story I heard, you had to get out and you had to pretty much pull yourself on your arms and pull your chair, did you pull the other guys chairs too? Or were the other guys' bikes... Mark: It was an epic, groveling adventure. Seems like everything I do turns into that. Jeff: Yeah. [crosstalk 00:34:50] Mark: If you're not suffering, you're not having a good time. That's kind of how it is out there. We had these one off mountain bikes and [00:35:00] we actually did a Jeep tour to kind of check it out a couple years prior. We did have it a little easier, we didn't carry all our water and food with us, we had a swag wagon out there. Suburban, follow the four paraplegics. Myself, Bob Vogel, and Steve Ackerman. We rode this, 52 miles is the full circumnav of the White Rim. There was times, [00:35:30] yeah, it was an interesting experience out there because some of these washes were like moon dust. We couldn't get our bikes through it. So I had a pair of rock chaps with me and I threw the rock chaps on and did some crawling. Had an 11 mil static rope and dragged the guys behind me. Did a few epic things like that. Jeff: I mean, If I'm riding my mountain bike and I come up on that scene in the middle of the White Rim, who knows what to make of that? Mark: [00:36:00] You can walk man, so best thing to do is just walk your bike. Jeff: Like, "You guys are good right?" and they'll be like "Yep, we're good man." Erik: Leave us alone. Jeff: Leave us alone. Mark: Don't touch me. Jeff: There's nothing to see here. Yeah. Erik: Yeah. Jeff: Wow, that's rad. Mark: And then recently, just a couple of years ago... in the winter we had a drought in California and Tahoe, so I circumnaved Lake Tahoe in a kayak in winter. And that was a really amazing adventure. It was 72 [00:36:30] miles, two nights of camping. But the cool thing was, and it was cool at night, it was really cold at night. There was no power boats. In the winter you don't have any power boats on Lake Tahoe, it was kind of like being out there in the 1800s. Seeing bald eagles, none of the tourists were on the water, it was really a fantastic trip. Dave: So Mark, you are someone who really embodies the spirit of No Barriers and you helped [00:37:00] start the organization. So tell us, all these adventures, all these things you've done to challenge what's possible, what people think is possible. Why No Barriers? Tell us that story. Mark: You know, No Barriers... I did a movie called No Barriers, and I got a poster out called No Barriers. It was a word that really meant a lot to me. My wife and I, we were down in San Francisco at a fundraiser... in those days it was called Yosemite Fund, now it's called Yosemite [00:37:30] Conservancy. We were at this dinner, and I met this kind of wild old character named Jim Goldsmith. And Jim came up to me, knew who I was... we started talking. He had a cabin in the subdivision I live in called Tahoe Dawner. So Jim and I, and Carol, and his wife Connie would get together, we had a couple of dinners together. And then Jim started talking about the Dolomites, and his [00:38:00] son-in-law and daughter. And he said, "Man, it would be really neat to kind of do something for disabled people and able bodied people if we did something in the Dolomites." And I go, "Man, I know a couple of guys who I've done some stuff with, a guy named Hugh Herr, double amputee who's done some rock climbing with him, and Erik Weihenmayer." This was probably after your Everest... Erik: Yeah, after. Mark: This was after your Everest climb. And I said "Hey, these [00:38:30] guys..." we did a climb out in Moab Utah, the three of us, it was kind of gimp helping gimp, it was this real magical event out there. Which was really cool... Erik: Climbing the Fisher Tower. Mark: Yeah. The Fisher Tower. Ancient Ark. Erik: Mm-hmm (affirmative). Mark: And it was this really fantastic climb. I'd like to get these two guys involved with what we're talking about. SO I called Erik, I called Hugh, and we ended up putting our first [00:39:00] little... in those days, it was more of a festival, we called it, instead of a summit. We did it in the Dolomites. It was a very obscure little place up in the mountains, this real beautiful location, but nothing was really accessible. The hotels weren't that accessible, everything was kind of difficult to put this together. But it was this real magical place in the mountains... Erik: I remember the chair operators didn't even know how to get people with disabilities on the chairs. Mark: They didn't have [00:39:30] an idea. They didn't... yeah. Erik: On the ski lifts. Thank you. Yeah. Mark: They weren't doing adaptive skiing in those days in that little village. It was actually the home of the 1956 Olympics. SO that was kind of my envision was to start this, and who knew it was gonna get into what it is today. It's just amazing what you guys have done, and all the different things No Barriers has to offer people. Erik: What do you think about when you think about the evolution? You had this little germ [00:40:00] of an idea to go to this town and start talking about accessibility and innovation, and some of your lessons about how you've broken through barriers, or how the three of us had broken through barriers. And now, when you look at it today... Mark: [sighs] It's kind of mind boggling how it's grown so big and how many different people it affects, it's not just the disabled community, it's able bodied community bringing everyone together. Trying new experiences. The youth programs [00:40:30] that you guys have been doing is tremendous over the years. Soldiers to the summit. We're having all these guys coming back doing ten tours, they're not adjusting back into society very well, and taking them out into the outdoors with Jeff and different mountain guides, it just changes their lives. Brings them more back into a reality where they can really kind of adjust back into society. And then the summit is just... I love [00:41:00] coming to the summits. I've been to every one now, I haven't missed one since the beginning. It's gonna be fantastic in New York, I'm really looking forward to that. Erik: And you bring your climbing wall, your portable climbing wall. Mark: I'll have... Erik: Almost to every summit. So that's your mission now, right? To go around and use your climbing wall as a No Barriers tool to help people break through barriers. Tell us about that. Mark: Absolutely. Climbing has been such a big part of my life, that I just like to introduce different [00:41:30] people to the sport. A lot of times, somebody that's... we don't say electric chair, electric chair is something you die in. Power chair. A power chair takes you from point A to point B. A power chair user, a lot of times doesn't have all the... there's not as many things out there for a power chair user to participate in. Climbing on my wall, they can. We have these harnessing systems [00:42:00] that support your core. It's almost like a Bosen's chair, pulley system. If you have the desire to get on the climbing wall, we can facilitate that. We don't turn anybody away. We've had people that weigh 500 pounds on my wall before. Very obese wheelchair users... it doesn't matter. I had a gentleman that had spina bifida and he was unfortunately caught up in the American society of drinking a lot of soda, [00:42:30] and became really big. We got him on the wall, it was really difficult for him. We would talk to him and he wouldn't really look at you eye to eye as we were talking. I saw him a year later, he dropped 150 pounds, quit the soda, got into a training, cut his hair in a mohawk, and it just changed his life. Got out of the power chair and was in a manual chair. So climbing was kind of the responsibility of really changing this guys life, and now I see [00:43:00] him down in Los Angeles. I probably take the wall to Southern California maybe seven or eight times a year, San Francisco, Bay Area. I sort of have different groups hire me year after year, once they experience the wall they really want to have it be part of their event. We bring in, mini El Cap I call it, and we get people on it and we have a great time. Erik: And you're traveling around with your wall, full time. People bring you in to create this experience for their [00:43:30] rehab hospital or organization or team, right? Mark: Exactly. All those venues... I do adaptive climbing seminars. So a gym might call me and wanna know, "how do we get an adaptive climbing program going?" So I do that. And a lot of times I'll do not only a seminar on adaptive climbing, but then maybe that evening do a show and tell about adventure sports and where adventure sports have taken the disabled in the last 35 [00:44:00] years. Erik: And you are like Kleenex now, because... you talk about the pulley system, it's not a pulley system, pull up system, a lot of people say, "Oh yeah, Mark Wellman system." Mark: Yeah, it's... yeah it's kind of getting that way. Jeff: You're like Beyonce now. Mark: I'm like Beyonce. It's just kind of neat that my passions over the years... everybody should have a passion. And my passion has always been [00:44:30] to be out camping, doing something in the outdoors, coming up with new ideas, new technologies... and some of these technologies are more like a backyard technology. It's not that fancy. Sometimes some of the most simplest things can change something. Like mountain bike tires on a wheelchair can change a chairs getting into the back country tremendously. Mounting a pull up bar in a sender can allow a paraplegic [00:45:00] to do 7000 pull ups in eight days to go up El Cap. Just simple little technologies can really change peoples' lives, and you can take that backyard technology, garage technology, put something together that works for you that can help a whole bunch of people. Dave: I'd like to go back to that... You've told us a story, sort of the arc of your life, and when I look at you Mark and think about what you've accomplished I think "God, this is incredible. [00:45:30] This is an incredible human being that very few people who had what happened to you would ever have chosen the path that you have chosen." And I think, when I think about our No Barriers community, every so often you get folks who will say "Yeah, that's Mark Wellman but that couldn't have been me. You're putting someone in front of me that's so incredible, how could I possibly do this?" Erik: Yeah, you're de motivational. Mark: Right, right. I know, I get it. Dave: I'd love to hear, what do you think we can... 'cause this is what we do at No Barriers. We... If you're [00:46:00] listening to this, it's not like we take everyone up mountains, but we try to remind them about something in their spiri t... Mark: Yeah. Dave: ...that teaches them anything is possible. So talk to us a little bit about, Mark, how did you get to that point? Is it just sort of who you were from the beginning, was it an evolution? It just seems like everything you encountered, you are like, "I can do more." Mark: I think it's really important for people to get out of their comfort zone. Nowadays, it's so easy for young people to get... they get into gaming. And they [00:46:30] just, you know... it's stagnant. You're not getting out of your comfort zone. And the outdoors has a way of getting you out of your comfort zone. And you can make it safe... you don't need to think about what I do, it's more about finding, maybe getting some different experiences. And that's what's so cool about the summit. You have all these different activities going on where you just get a little taste of it. And hopefully [00:47:00] that little taste will inspire your imagination to want to try it again. And that's where I think it's really important if you're facilitating skiing or climbing, or whatever you're facilitating, you have to make sure that these people, their first experience is a good one. If they don't have a good experience, most likely they're not gonna go back to it. And, it's really important that the very first time... One of our board members, Sasha. [00:47:30] He was an academia guy, a professor. He came to the No Barriers event in Squaw Valley, the first one. Never had tried climbing before, and we took him to Donner Summit and got him up on this road cut climb that's 80 feet with big exposure, and it changed the guys life. It was something he was real nervous about, but it was getting him out of his comfort zone, and him [00:48:00] really having, you know... it was exciting for him, it was thrilling, it was challenging not only physically but mentally challenging at the same time. All those things combined. Kind of changed his life. And he became a board member of No Barriers because of that. Dave: Yeah. Mark: And there's stories like that all the time. Or Mandy, I remember her... wonderful singer. She got on my wall, it was 25 feet, and she [00:48:30] was really scared. It was a really scary moment for her where she had this big fear of heights. It wasn't like she was on a 1000 foot rope, she was on a 24 foot wall. But she might have well have been. Jeff: Relative for her. Mark: Could have been a 1000 foot climb. But she made it through. And came down... I got a guy that helps me, Wes, he's a search and rescue guy, kind of a big guy. He's just magical with [00:49:00] people, and really helped her a lot. So, you have all these different experiences... Erik: And I think that experience, by the way, gave her the courage to go out and do something completely non-climbing related, which was to write music and to go on to America's Got Talent, and... Mark: Exactly. Erik: Get into the finals, and now skyrocket into stardom. Mark: To fame. Absolutely. Making a better quality life for herself. [00:49:30] A lot of times when you say, somebody that's a wheelchair user... what is it, like 90 percent of the people in wheelchairs don't have jobs. And it's always kind of bummed me out, I'm thinking, "Wow." Why would you wanna be caught in a system like with Social Security and be basically poor your whole life, because "Oh I have Medicare, I have my Social Security disability," So you're trying to live on six to eight hundred dollars a month. And you're caught [00:50:00] in this kind of vicious circle. You've got to get away from that somehow, and get into the workforce, be productive. You're gonna feel better, you're gonna be a more productive citizen in this country, and you're not gonna be wrapped up in this vicious circle of never getting ahead and always having the government thumb you down, so to speak. Erik: Last question for [00:50:30] you from my end, this is Erik, and I wanna know, I've made it kind of clear that I look up to you. Tell me, who are the people that you look up to? Tell us about that guy Larry, tell us about some people who influenced your life. Mark: Oh man. There's been a lot for sure. There was a guy named... actually I think you're thinking of a guy named Mark Sutherland. When I first got hurt, Mark was a quadriplegic ten [00:51:00] years post to my injury. And he was back in the hospital. He had a bone spur, the spur was touching his spinal cord, and he was losing some of his action. Some quadriplegic can move their arms and they can push manual chairs, and he was one of those. But he was losing some of his arm strength, so he was in the hospital, and my room was next to his. We would talk at night. 'Cause I was really bummed out when I was first injured. To me, being a paraplegic was a fate [00:51:30] worse than death. I was on the sixth floor, if I could have crawled over to the window and jumped out I would have cause that's how bad I felt. I was just thinking, "Not having the use of my legs, I'm not gonna ski again, I'm not gonna climb." I was 22, I was just like, "Why didn't the mountain just take me." Those were the kind of thoughts I was having. But then I would go into this guys room, Mark Sutherland, and he would talk about, "Oh I had this milk truck that I converted, and I had a stool. One time I was driving it with my hand controls [00:52:00] and I fell off the stool, and I was on the ground and I had to throw my hand on the brake to stop it so I didn't kill anybody." Jeff: And you were like, "That's the greatest story ever." Mark: Yeah. I wanna do that. So I was just hearing this stuff from this guy, and he was talking about girlfriends, and how he was running around doing this and doing that, and I'm going, "Man, this guy has a life." And it was really inspiring to be... so where I was really depressed and laying in the hospital bed, and couldn't feel [00:52:30] my lower extremities, and "What's a catheter?" And I'm just like, "Man, this is horrible, what did I get myself into." And this guy was really upbeat and uplifting... Jeff: Showed you it wasn't a death sentence. Mark: Yeah. Showed me it wasn't a death sentence, and let's get on with life, dude. And it was like, boom. That just changed me. Then we went into rehab together, we were more in a hospital setting and then we both went into our physical rehab. That's [00:53:00] when it just started clicking for me, and that was it. Dave: Well, just to wrap up this excellent conversation that we're having about the history of No Barriers and all that you've done as well just individually, you've seen No Barriers be this thing that started in the Dolomites in 2003, we're 15 years into this. What's your dream for what it becomes? Mark: Wow. I would just consider it to be... I'd like to see maybe a couple summits a year, possible. [00:53:30] More, smaller clinics would be really cool too. I think you guys are really on a good, good path. But maybe some smaller events too. Just keep growing it. Keep doing more of these kinds of things. More technology. Bringing in more people, better speakers. Better people that are... or people that are doing more things that inspire others that give the ideas [00:54:00] to do more things. I'm amazed in 15 years where it's come to. Who knows where it's gonna go. Another 15 years from now, man this could be a huge, huge organization that could affect a lot of people and bring a lot of people together. This whole family, bringing the tribe together. It's always fun at the summits, and seeing people I haven't seen for a year, [00:54:30] spending time with them. I love getting people out climbing, so that's my passion. Erik: What if people want to learn how to get in touch with you, how to work with you, how to bring your wall to their organization? Mark: Yeah. Google Mark Wellman or just go to my website, No Limits Tahoe dot com. Give me a call. Erik: Although they won't talk to you, 'cause you're never home. You're always out [crosstalk 00:54:55] or something. Dave: Always on the road, right. Mark: Well, no, yeah I'm easy to get a hold of. Talk to my wife, Carol, [00:55:00] and I can get back to you. Erik: Right. Mark: Send me an email. I'm better on the phone, I don't like to email tons. Love to talk to you, if you have ideas lets talk about, lets see you at the summit. Lets get out and enjoy life. Erik: Cool. Well thank you so much Mark. Jeff: Listen Mark, I know you well enough to know you don't need to hear what I'm about to tell you, but, I think it's important for you and the listeners to know [00:55:30] in conversations like this, it becomes so clear how you are sort of the upside down pyramid. And you're the point on the upside down pyramid. And it all sort of funnels up from you, really. And I know there's others, but you're the man. And I know it's important for you, it is important for me to know that you know how many thousands of lives you've impacted. Erik: Tens of thousands. Jeff: Thousands of lives dude. You have been the kick starter [00:56:00] and the imputes. And you're just one of the most wonderful pioneers. I know you know it, but you need to hear it more, because you're the man. Mark: I appreciate it man, it's humbling. And, to take a passion that I had and a dream... and like I said, just simple adaptations, a pull up bar on a jumar. Man, how that changed other people to go climb up El Cap, or do Castleton, or whatever [00:56:30] mountain you want to get up, it's been a pretty cool experience. It's been fun to work with other companies. We're making more adaptive climbing equipment now. It's really kind of evolved from just handmade rock chaps to a real sophisticated pair of rock chaps that allows people to get out there and do a lot of cool stuff. Dave: Well it's been an honor to have you here Mark, I know many of our listeners are part of that No Barriers tribe. Many of them will know you, but a [00:57:00] lot of them won't. The movement has grown so big that it's well beyond you. But per what Jeff was saying, it's so important I think for the people of our community to know where this began. Mark: Mm-hmm (affirmative). Dave: And you are the point that Jeff mentioned where it began, and so, thank you so much for joining us, we appreciate having you. Mark: My pleasure. Erik: What did you guys take away from that? Might take us a while. Dave: Yeah. Exactly. Jeff: Might be a lengthy debrief on that one. Dave: I guess for me, as someone who's helping to build [00:57:30] this movement, like I was ending with there, just to remember the roots of where No Barriers began which is individuals coming together in small communities around creative ideas to do stuff that people didn't think was possible. And as we start to move to tens of thousands, maybe millions over the next ten years of people that we impact, that there's something in that special sauce that's still about the [00:58:00] individuals getting together having a fun, creative idea and going out and pushing their comfort zone. Erik: Yeah. I think that, No Barriers recipe is sort of hidden right in the story of El Capitan, which is... Mark's a smart guy, but he's not a scientist or anything, he's not Hugh Herr, who's inventing stuff where you go, "I could never do that." What he said is a pull up bar and a jumar. These are commercially available things. I think he had to adapt a few things, but [00:58:30] not all that crazy technology. Pretty simple. You combine that series, that innovation with the human spirit and a great friend or great support system, a great rope team, you do this amazing thing that opens up the door for a lot of people. It's a pretty simple recipe. Dave: It is. Jeff: All the big things that have happened with regards to our species all started with this small [00:59:00] germination of somebody sitting in their theoretical garage just being like, "How do I do this? Hmm?" And head scratch, and start piecing these things together, and then, boom, the movement begins. I think Mark embodies that, and what a great cornerstone for this organization. Dave: Well, and the movement continues. So if you're sitting there listening saying, "I wanna be a part of this organization, I wanna be a [00:59:30] part of No Barriers," please go to our website, No Barriers USA dot org. You can join us at the summit that Mark mentioned that's coming up in October in New York. There are many more ways you can join us but please, No Barriers USA dot org is our website. You can also share our podcast with your friends and colleagues and families, and follow us on our Facebook page. Thank you so much for listening. Erik: Live No Barriers. Dave: Thanks.

On this day in 1978, Simon Woodward a then 14 year old student at St Joseph's College won the state final of the Rostrum speech contest called Voice Of Youth, but as Simon explains, he nearly didn't make it through!

V središču današnje oddaje bodo štiri odrskoglasbena dela – premieri »Macbetha« v Ljubljani in »Titanika« v Mariboru ter »Norma«, poslovilna predstava Marielle Devie v Benetkah in zadnja premiera Puccinijeve »Turandot« v Zagrebu. Današnji fokus bomo zaokrožili s petim koncertom za zlati abonma (Kraljevi škotski nacionalni orkester) Cankarjevega doma. V drugem delu oddaje bomo poročali o osmem koncertu za modri abonma Slovenske filharmonije in o šestem iz cikla komornih koncertov Carpe artem v Mariboru. Sledil bo zborovski sklop, v katerem vas bomo seznanili z Dnevom glasbene matice in 29. letnem koncertu mešanega mladinskega pevskega zbora Veter. Oddajo bomo zaokrožili z reportažo s 65. Rostruma – mednarodne skladateljske tribune.

Han var en av de första danska tonsättarna som reste till Darmstadt, men Aksel Borup-Jörgensen använder inte strikt serialism utan är en mycket intuitiv, lyrisk musiksnidare. Axel Borup-Jørgensen föddes 1924 i Hjørring på Jylland. Han avled i Birkerød 2012. När han var tre år emigrerade familjen till Sverige och han tog studenten i Linköping, där han också gjorde sin värnplikt. Senare flyttade han till Köpenhamn och avlade 1950 musikpedagogisk examen i piano vid Det Kongelige danske Musikkonservatorium. Som tonsättare är Axel Borup-Jørgensen autodidakt. Synnerligen produktiv har har varit och skrivit mer än 150 opus; minimala solostycken, ensembleverk och symfoniska verk. Intresset för Schönberg och Webern förde honom 1959 och 1962, som förste dansk, till sommarkurser i Darmstadt. Men Axel Borup-Jørgensen använder inte strikt serialism utan är en mycket intuitiv, lyrisk musiksnidare. Han har tonsatt dikter av bl a Heidenstam, Gunnar Björling, Elsa Grave, Langston Hughes, Hölderlin och Rilke. Hos Axel Borup-Jørgensen möter vi inte sällan intima stämningsbilder i ofta små format som hellre skildrar tillstånd än händelser. Hans måleriska orkesterstil kulminerar i verket Marin, en beställning från Danmarks Radio, som han skrev mellan åren 1963 och 1970. Detta var en så stor anstränging att Axel Borup-Jørgensen efter det övergick till att enbart skriva för mindre ensembler. Bara renskrivningen  av partituret tog 900 timmar. Hela verkets tillblivelse tog 7000 arbetstimmar i anspråk. Herbert Blomstedt dirigerade Danmarks Radios Symfoniorkester i uppförandet av Marin. Verket tilldelades det internationella Rostrum of Composers prize i Paris 1970. Axel Borup-Jørgensen fortsatte att utveckla sin personlige stil fram till sin død, gärna i tätt samarbete med instrumentalister som kunde hjälpa honom med att realisera sina idéer om nye spelsätt och nya klangmöjligheter från traditionella instrument som blokflöjt och gitarr. Bl a tillsammans med världsartisten Michala Petri och sin dotter Elisabet Selin. Danske tonsättaren Pelle Gudmundsen-Holmgreen beskriver i en intervju sin äldre kollega: "Borup har funnit en egen, poetisk skönhet. Han är en  tonsättarnas poet. Han har ett svenskt drag i sin musik, man kan nästan höra de svenska skogarna och vidderna och den säregna melankoli, som ofta vilar över svensk konst." Birgitta Tollan mötte Axel Borup-Jørgensen i Köpenhamn och frågade honom om man kan förstå att man har en så produktiv gärning bakom sig.   Låtlista. Alla stycken är tonsatta av Aksel Borup-Jørgensen:   För orgel IV, opus 106 Jens E Christensen OUR Recordings 6220617   Nordisk sommarpastorale op 51 Danska Radions Symfoniorkester Leif Segerstam, dir Dacapo 8.224030   Musik för slagverk och viola, opus 18 Anette Slaatto, viola Mathias Reumert, slagverk Dacapo   Vinterelegi För sinfonietta och 3 sångare, opus 55 Århus Sinfonietta Ars Nova Copenhagen Søren Kinch Hansen, dirigent Carambolage 8.226576   Praeambula Per Dybro Sørensen, gitarr Point Records PACD 81   O BARN Erik Skjoldan, Helene Gjerris Rilke Songs and Piano Works Point Records PCD 5117.   Songs for soprano and guitar on poems by Ole Sarvig, op 104 Karl Petersen, gitarr Marianne Lund, sopran   Notenbüchlein für Anna Elisabeth op. 82. Finale: Chant d'oiseaux Elisabeth Selin, blockflöjt OUR Recordings     MARIN Danska Radions Symfoniorkester Leif Segerstam, dir Dacapo 8.224030   Sirenernas kyst, opus 100 Ars Nova Copenhagen Søren Kinch Hansen, dirigent Carambolage 8.226576   Thalatta!, Thalatta! opus 127 Erik Skjoldan, piano Our Recordings

Greetings, Rostrum fans. This week’s guest? Annie Jacobsen, bestselling author of AREA 51, OPERATION PAPERCLIP, THE PENTAGON’S BRAIN, and now PHENOMENA: THE SECRET HISTORY OF THE U.S. GOVERNMENT INVESTIGATIONS INTO EXTRASENSORY PERCEPTION AND PSYCHOKINESIS. Annie is a veteran chronicler of the darker, stranger corners of national security, intelligence, and advanced technology. She’s written about the alleged UFO holding zone near Groom Lake in Utah; the rescue by the U.S. of high-ranking Nazi scientists (one of whom is the subject of... The post Annie Jacobsen on PHENOMENA, the CIA, and ESP appeared first on Octavian Report.

Greetings, Rostrum readers! Things are getting even more bizarre with Donald Trump. The Donald is contemplating pardoning himself for any charges special investigator Robert Mueller might bring, assuming he doesn’t fire him first. In this week’s podcast, we speak to someone who was thinking about the issue of the self-pardon twenty years ago, when Bill Clinton was in the White House and Trump was still married to Marla Maples: legal scholar Brian Kalt, who wrote the definitive article on the subject for... The post Can Donald Trump pardon himself? appeared first on Octavian Report.

Recording live from the 2016 Taste of Chicago, Gary and Roscoe enjoy the elements and the sound of Buckingham Fountain while talking in depth with friend of the show, successful restaurateur Billy Lawless Jr. Billy's stable of establishments include The Gage web site, The Dawson web site, Acanto web site and the new Beacon Tavern web site. Days after this interview, Billy opened Coda Di Volpe on Southport. We got to go to the Friends and Family pre-opening and it is marvelous! Enjoy the photographs of these beautifully designed restaurants, then go see them in person! We talk food, customer experience, service and location, location, location! Billy describes the thinking behind his restaurants' menus and wine lists and tells us about his great Beverage Director, Jon McDaniel. We talk about Ireland and the Brexit. And pork mac and cheese. Billy shares his keys to success, which would be helpful to owners of any business. Billy's dad Billy Sr. emigrated from Galway, Ireland, 18 years ago and was immediately successful with his first Irish pub establishment in Lakeview. From there, the Lawless Restaurant Group has grown into one of the most excellent and  prominent hospitality organizations in Chicago. Do yourself a favor and visit one of these marvelous restaurants. And tell them Booth One sent you! Did you know that Buckingham Fountain, clearly audible in the background of this episode, has 134 firing water jets and circulates 1.5 million of gallons of water? Recently, Atlas Obscura provided an opportunity for people to get a glimpse of how the complex plumbing and pumps work on their "Buckingham Fountain Underground Pump Room Tour". How many hot dogs do Americans consume between Memorial Day and Labor Day each year? 1 billion? 3 billion? Try 7 BILLION! That averages to about 818 per second! What's your contribution? Source: USA Today Participate in this years' Le Diner En Blanc, where picnickers meet in a public location and dress all in white. The meeting location is kept secret until the day of the event and is available to paying guests only. This 5th Chicago edition is scheduled for August 12 and tickets are $37.50 plus an $8 membership fee. Register for the waiting list now and plan to purchase tickets on July 20. For more information, go to Chicago.dinerenblanc.info. And break out your summer whites! Booth One gives one of its usual summer shout outs to the Grant Park Music Festival, the largest free classical music festival in the world. Though you might have missed their Cole Porter Celebration on July 8 & 9, there are still plenty of concerts to be heard before the end of the season in late August. Get yourself to Chicago and the magnificent Pritzker Pavilion in Millennium Park for an outstanding evening of music under the stars. Our Kiss of Death celebration-of-a-life segment is Lorna Kelly, who "Left Sotheby's Rostrum to Help the Poor." An Upper East Side socialite who was one of the first female fine-art auctioneers in the world in the 1970's, Ms. Kelly grew discontent during the 1980's and felt a spiritual void. So she decamped, unbidden, for India and Mother Teresa, the first in a series of charitable endeavors that occupied her ever after. Ms. Kelly was 70. Read more of her inspirational story in Margalit Fox's NYTimes obituary. And check out her spiritual memoir, "In the Footsteps of the Camel" here.  

Composer Andrew Aronowicz in conversation, with music, including his orchestral work for the Melbourne Symphony Orchestra - an Australian entry to this year's International Rostrum of Composers.

Composer Andrew Aronowicz in conversation, with music, including his orchestral work for the Melbourne Symphony Orchestra - an Australian entry to this year's International Rostrum of Composers.

Composer Katy Abbott in conversation, with music, including her duo for cello and vibraphone - an Australian entry to this year's International Rostrum of Composers.

Composer Katy Abbott in conversation, with music, including her duo for cello and vibraphone - an Australian entry to this year's International Rostrum of Composers.

Composer Lachlan Skipworth in conversation, with music, including his Clarinet Concerto - an Australian entry to this year's International Rostrum of Composers.

Composer Lachlan Skipworth in conversation, with music, including his Clarinet Concerto - an Australian entry to this year's International Rostrum of Composers.

Nickole Raymond and Sarah DeMarco, the co-founders of LDR Brands join Host Deirdre Breakenridge on Women Worldwide. Previously, Nickole was a seasoned sports industry executive, who spent a decade of her career at global sports and entertainment agency, WME | IMG. Sarah DeMarco was a seasoned music industry executive with diverse experience from acclaimed independent record label and management company, Rostrum Records. With two very different backgrounds, these former industry executives, turned entrepreneurs, started their company as a collaboration to create luxurious professional accessories. They discussed their journey as entrepreneurs with a driving passion and focused vision.They also discussed the benefits of having a partner in business and relying on complimentary skills, their approach to the negotiating process and managing tough challenges together. A little more about Nickole Raymond and Sarah DeMarco… Prior to LDR Brands, Nickole shaped the careers of top athletes and personalities acquiring a unique skill set in areas including: business development, talent management and brand marketing. Nickole has led IMG Golf's business development strategy and managed the Americas based sales teams. Originally based in Pittsburgh, Sarah worked closely with Wiz Khalifa and Mac Miller, as their hip-hop careers progressed. She also oversaw the development of Miller’s music videos and the merchandise used to promote “Blue Slide Park,” which was the first independent album to debut at #1 on the Billboard 200 chart since 1995, validating Rostrum as an indie success story. You can connect with Sarah on Linkedin, and Nickole on LinkedIn A little more about Your Host, Deirdre Breakenridge … Deirdre is an author, entrepreneur and CEO of Pure Performance Communications. A 25-year veteran in PR and marketing, she is the author of five Financial Times Press books including her latest titles, “Social Media and Public Relations,” and “Putting the Public Back in Public Relations.” Breakenridge speaks nationally and internationally on the topics of PR, social media and marketing. She's an adjunct professor at NYU and UMASS at Amherst, a recognized blogger at PR Expanded, and also the co-founder of #PRStudChat, a dynamic twitter chat with PR professionals, educators and students. Connect with Deirdre by following @dbreakenridge on Twitter and on her blog at www.deirdrebreakenridge.com.

I fjärde programmet möter vi två två pionjärer inom den nutida konstmusiken, två tonsättare med judiska anor från Ryssland: Faye-Ellen Silverman, infödd Manhattanbo, och Shulamit Ran, som pendlar mellan Israel och USA. De båda tonsättarna studerade faktiskt under en period samtidigt på Mannes College of Music på Manhattan. Faye-Ellen Silvermans morfar kom från Ryssland till New York vid 1900-talets början. Strax efter ryska revolutionen anlände hennes far till Manhattan. Faye-Ellen började på Dalcroze School of Music i New York när hon var 4 år. Mamman skrev ner orden till Faye-Ellens egna kompositioner när hon var alltför liten för att stava men redan kunde skriva noter. När hon var 13 år var hon en av fem vinnare i en kompositörstävling där den berömda brittiska dirigenten Leopold Stokowski satt i juryn. Det ledde till konsert i Carnegie Hall och uppmärksamhet i radio, TV och tidningar. Det var då Faye-Ellen bestämde sig för att kalla sig tonsättare. -Jag var kanske dum, men innan hade jag haft skyddslappar och trott att alla komponerade musik, skrattar Faye-Ellen Silverman. 1962 hindrades hon från studier i musik vid Columbiauniversitetet. Orsak: hon var kvinna. Faye-Ellen Silverman tog sin master i musikkomposition på Harvarduniversitetet. På kompositionsavdelningen skrev en av de anställda offentligt att ”Det finns ett och annat som kvinnor inte bör göra, nämligen skyffla kol och komponera musik”. Senare fick hon tillträde till Columbia för sin doktorsgrad i musikalisk komposition. 1982 representerade Faye-Ellen Silvermans stycke Oboe-sthenics USA vid Rostrum, vilken är den globala tävlingen för tonsättare. I den välrenommerade musikhistorien ”Schirmer history of music”, som gavs ut 1982, skrev Faye-Ellen Silverman kapitlet om 1900-talets musik och förhindrade att alla kvinnor uteslöts ur manuset till boken. På hennes CD Manhattan Stories finns stycket Protected Sleep, som är en fantasi över melodin i den sefardiska vaggsången Durme Durme. Stycket Left Behind komponerade Faye-Ellen Silverman till hornspelaren Ann Ellsworth, vars make inkallats till Irak. På CD’n Transatlantic Tales samarbetar Faye-Ellen Silverman med den danska gitarrkvartetten Corona och dess ledare Volkmar Zimmerman. Fay-Ellen Silvermans hemsida: http://www.fayeellensilverman.com/ Tonsättaren Shulamit Ran växte upp i Tel Aviv och började tidigt spela piano och skriva musik. När hon var sju år blev några av hennes sånger antagna till ett barnprogram i Israelisk radio. -Det var en underbar känsla och det var då jag bestämde mig för att bli tonsättare, berättar Shulamit Ran. Som 14-åring flyttade hon till New York för att studera musik på Mannes College of Music. Detta var avgörande för hennes fortsatta möjligheter att komponera och få sina stycken framförda. 1990 valde dirigenten Daniel Barenboim Shulamit Ran till Composer-In-Residence hos Chicagosymfonikerna. Där arbetade hon under sju säsonger. Shulamit Ran är professor vid University of Chicago och hedersdoktor vid fem andra institutioner. Hon är invald både i American Academy of Arts and Letters och American Academy of Arts and Sciences. Som andra kvinna någonsin fick hon 1991 Pulitzerpriset för sin Symfoni som skandalöst nog aldrig spelats in. Prisjuryn skrev så här: ” Shulamit Rans musikalisk fantasi och konstnärliga uppfinningsrikedom har en överlägsen kvalitet”. Om hennes musik har det också skrivits att den är tonsatt med ”samma känsla för mänskligheten som Mozarts mest djupsinniga operarior och Mahlers sökande symfonier”. Flera av Shulamit Rans stycken har kryddats av mellanösterns speciella tonskalor. Även Shulamit Rans enda opera Between Two Worlds The Dybbuk, från 1997, drabbades av ödet att inte bli inspelad. - Men om jag skulle tänka på detta hela tiden så skulle jag bli väldigt olycklig. Så jag gör det alla tonsättare måste göra, tänka framåt och fortsätta komponera! Men jag hoppas förstås att min Symfoni kommer att spelas igen någon gång i framtiden, säger Shulamit Ran. När hon komponerade de fyra första tonerna i sin Violinkonsert från 2003 tänkte hon på sin mor, som ”hade ett stort djup och en stor känslighet – och dessutom visdom och intuition”. Varje kväll sjöng modern Brahms Vaggsång Guten Abend, guten nacht vid sängkanten. Därför avslutas Violinkonserten med att fiolen spelar denna melodi högt upp i registret. Shulamit Rans hemsida: http://www.presser.com/Composers/info.cfm?Name=SHULAMITRAN

In the spiny eel, Macrognathus aculeatus, anterodorsal and (to a lesser degree) anteroventral lateralline nerves project massively to the granular layer of the valvula cerebelli, throughout its rostrocaudal extent. The posterior lateral-line nerve terminates in the corpus cerebelli. Thus, valvula and corpus cerebelli are supplied with mechanosensory input of different peripheral origins. An analysis of the taxonomic distribution of experimentally determined primary lateral-line input to the three parts of the teleostean cerebellum reveals that the eminentia granularis always receives such input, and that the corpus cerebelli is the recipient of primary lateral-line input in many teleosts. The valvula, however, receives primary lateral-line afferents in only two examined species. In M. aculeatus, the massive lateral-line input to the valvula probably originates in mechanoreceptors located in the elongated rostrum of the upper jaw, a characteristic feature of mastacembeloid fishes. This projection to the valvula may therefore represent a unique specialization that arose with the evolution of the peculiar rostrum.