Podcast appearances and mentions of Sarah Brightman

It's said Emperor Nero was complicit in 64 AD burning of ancient Rome. He wanted a modern city to complement his enormous and lavish palace. So, burning down Rome served a purpose. In a semi-arid landscape, L.A.'s fires might be considered NEGLIGENT. Southern California's property assessors determine 350,000 private swimming pools. It's no wonder fire hydrants were EMPTY. Also, L.A. funds fire departments only at the rate of ONE fireman for every ONE THOUSAND residents. MUSIC Hans Zimmer & Ben Wallfisch, Dave Grusin, Sarah Brightman, Dominck Hauser, Leslie Garrett

David Fleming speaks with comedian and actor Paul Reiser once again - Stranger Things and more. David also speaks with Sarah Brightman touring a Christmas special. Both Reiser and Brightman have stops in the region.

EXCLUSIVA! Sarah Brightman REGRESO a Mexico con su SHOW 'A Christmas Symphony' See omnystudio.com/listener for privacy information.

Good morning!The Morning Breeze Brain Tease: Chances are you lose 3 to 4 of THESE every year...Gail calls in with a unique question.The Brighter Side.Cort was asked a random question by a stranger...Carolyn finally got around to hanging up her Christmas lights.Sarah Brightman tickets!More full size Christmas trees!

This week's guest is a prolific pianist, composer, songwriter, and producer. Hailing from Canada, this writer began his piano studies at the ripe age of three years old. Raised by an Italian-Canadian father and a French-Canadian mother, our guest grew up with various musical influences. After studying performance and classical piano and completing a Bachelor of Arts degree in composition and piano performance, our guest began his career as a session musician, in-house producer, arranger, and composer. Known for his captivating piano skills, this writer is a sought-after collaborator who has worked with stars such as Celine Dion, Sarah Brightman, Josh Groban, and Miley Cyrus. And The Writer Is…Stephan Moccio! Hosted on Acast. See acast.com/privacy for more information.

Good morning!Stress Free Holidays are back!The Morning Breeze Brain Tease: You're much more likey to get a 2nd date, if you do THIS on the 1st date.It's Cyber Monday! Are you buying it?The Brighter Side.Cort has an update on this veggie tray at Thanksgiving!Sarah Brightman concert tickets!More on that veggie tray...Edwin, Amie, Bertha and Grace won Christmas Trees!

The world's biggest-selling soprano and legendary GRAMMY® Award-nominated artist Sarah Brightman is back to spread holiday cheer this upcoming season! Sarah will dazzle audiences once again with her ‘A Christmas Symphony' tour this November and December. Accompanied by orchestra, choir and special guests, this enchanting holiday show will feature Sarah performing many of her holiday classics and greatest hits. Now an annual tradition, ‘A Christmas Symphony' is such a special way to enjoy the holidays with family and friends. Tickets are now available at SarahBrightman.com/Tours.Sarah Brightman has amassed sales of more than 30 million, received awards in more than 40 countries and garnered more than one billion streams worldwide. She performed at such prestigious events as the Concert for Diana, The Kennedy Center Honors and the Barcelona and Beijing Olympic Games. Sarah's albums Eden, La Luna, Harem, Symphony and Dreamchaser were each chart-topping Billboard hits and were all accompanied by world tours. Her most recent full length studio album HYMN debuted at #1 on the Classical and Classical Crossover Billboard charts. Sarah has been recognized for her outstanding contribution to music and theatre with a ‘STAR' on the world-renowned, majestic Hollywood Walk of Fame, in addition to receiving an Honorary Doctor of Arts (Hon DArt). Now an annual tradition, Sarah's holiday tour visited 22 cities in Canada and the US in 2023, receiving glowing reviews and standing ovations! This year, Sarah's “A Christmas Symphony” tour visits 14 new cities in the Western United States and Mexico beginning in Thackerville, OK on November 29th concluding on December 18th in Mexico City, MX.  Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

“Something You Should Know” is brought to you by the all new Triple Seven Casino, now open from 7am to 2am seven days a week at 3601 S Minnesota Ave, just off I-229 in the former Sioux Falls VFW building! We share fun things that are happening in the area and from time to time invite guests in to talk about their events!

ICYMI: Hour Three of ‘Later, with Mo'Kelly' Presents – A conversation with the World'sBest-Selling Soprano Sarah Brightman, who joins the program with a preview of her upcoming tour, “A Christmas Symphony” coming to The Dolby Theatre in Los Angeles on December 15th…PLUS – Thoughts on the film adaptation of the smash hit Broadway stage play ‘Wicked' heating up the movie theater box office - on KFI AM 640…Live everywhere on the iHeartRadio app

ICYMI: ‘Later, with Mo'Kelly' Presents – A conversation with the World'sBest-Selling Soprano, Sarah Brightman, who joins the program with a preview of her upcoming tour, “A Christmas Symphony” coming to The Dolby Theatre December 15th - on KFI AM 640…Live everywhere on the iHeartRadio app

The world's biggest-selling soprano and legendary GRAMMY® Award-nominated artist Sarah Brightman is back to spread holiday cheer this upcoming season! Sarah will dazzle audiences once again with her ‘A Christmas Symphony' tour this November and December. Accompanied by orchestra, choir and special guests, this enchanting holiday show will feature Sarah performing many of her holiday classics and greatest hits. Now an annual tradition, ‘A Christmas Symphony' is such a special way to enjoy the holidays with family and friends. Tickets are now available at SarahBrightman.com/Tours.Sarah Brightman has amassed sales of more than 30 million, received awards in more than 40 countries and garnered more than one billion streams worldwide. She performed at such prestigious events as the Concert for Diana, The Kennedy Center Honors and the Barcelona and Beijing Olympic Games. Sarah's albums Eden, La Luna, Harem, Symphony and Dreamchaser were each chart-topping Billboard hits and were all accompanied by world tours. Her most recent full length studio album HYMN debuted at #1 on the Classical and Classical Crossover Billboard charts. Sarah has been recognized for her outstanding contribution to music and theatre with a ‘STAR' on the world-renowned, majestic Hollywood Walk of Fame, in addition to receiving an Honorary Doctor of Arts (Hon DArt). Now an annual tradition, Sarah's holiday tour visited 22 cities in Canada and the US in 2023, receiving glowing reviews and standing ovations! This year, Sarah's “A Christmas Symphony” tour visits 14 new cities in the Western United States and Mexico beginning in Thackerville, OK on November 29th concluding on December 18th in Mexico City, MX.  Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

The world-renowned diva talks with us about being "the original Christine" before that was an oft-used phrase, what she's thinking about while singing, whether she's seen "Step Brothers," and her upcoming "A Christmas Symphony" show here in Omaha on Dec. 1st.

Es geht weiter mit dem Monat der Legenden! Heute darf ich einen echten Schlagzeugprofessor am Mikrofon begrüßen: Professor Udo Dahmen. Wie es für Legenden üblich ist, bedarf es im Grunde keiner Vorstellung, ich tue es aber trotzdem, weil es einfach so einzigartig ist, was Udo geleistet hat. Udo ist nicht nur einer der erfolgreichsten Drummer Deutschlands und spielte unter anderem mit Kraan, Charlie Mariano, Sting, Sarah Brightman, Nina Hagen um nur einige zu nennen, ist Träger des Verdienstordens des Landes Baden Württemberg, das Gesicht der Popakademie, Gründer und Initiator der Berufsmusikschule in Trossingen und Dinkelsbühl, Dozent für unzählige der bekanntesten Drummer und Drummerinnen Deutschlands, ständiger Radio Gast und vor allem ein ganz, ganz toller Mensch mit visionären Ideen und jemand der definitiv etwas zu sagen hat. Ich kann mich kaum mehr geehrt fühlen als durch dieses Interview. Darum Tee machen, Spekulatius rausholen und lauschen - es lohnt definitiv. Viel Spaß mit dieser Episode des Trommel-Talks. Mehr zu Udo findest du hier: https://de.wikipedia.org/wiki/Udo_Dahmen Erklär mir Pop gibt es hier: https://www.swr.de/~podcast/swrkultur/programm/erklaer-mir-pop-108.xml Wenn du wissen willst, was Second Line Drumming ist, bekommst du hier einen Eindruck: https://youtu.be/SdzweSXO9zg?feature=shared oder: https://youtu.be/sgKwZGX-5ms?feature=shared Ich freu mich tierisch, wenn du auf der Seite von Einfach Schlagzeug mal unter https://einfachschlagzeug.de/ oder bei Instagram vorbeischaust: https://www.instagram.com/krafftfelix/?hl=de Kapitelmarken 0:00:09 - Start 0:03:41 - Am Anfang war der Stick 0:19:01 - Von Dante zur Lehre 0:26:28 - Das ist doch nicht lehrbar 0:35:09 - Ist Kunst Pop und Pop Kunst? 0:40:21 - Kreativität entsteht aus Bekanntem 0:52:03 - Der Musiker als Profi 1:12:35 - Schnellfragerunde

A conversation with Chris Mosdell – poet and lyricist who has written for a vast array of musicians including Yellow Magic Orchestra, Michael Jackson, Sarah Brightman, Tatsuro Yamashita and many more, and in 2023 was honoured with Japan's Classics Day Cultural Foundation Prize, presented by a member of the Imperial family. Mosdell shares the process of writing words for music, the story of why one of his most famous pieces was locked in Michael Jackson's vaults for decades, being inspired by Kyoto's 10th century "social media", and how the hum of cities has an impact on his words.

Rev Bill Crews talks to Silvie Paladino who plays Norma Desmond at certain performances of the lavish new production of Andrew Lloyd Webber's Tony Award winning musical masterpiece, SUNSET BOULEVARD, starring superstar Sarah Brightman, that is currently playing at Sydney Opera House.See omnystudio.com/listener for privacy information.

Ukrainian-British pianist Dinara Klinton and Scottish operatic tenor Nicky Spence join Anna Phoebe and Jeffrey Boakye, taking us from a cheeky 1980s boy band from Birmingham via Domenico Scarlatti to the famous French duo behind the mask as they add the next five tracks.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Pass the Dutchie by Musical Youth Sonata in G Major by Domenico Scarlatti Maybe This Time by Liza Minnelli Phantom of the Opera by Sarah Brightman & Michael Crawford Harder, Better, Faster, Stronger by Daft Punk Other music in this episode:Wipeout by Duke University College Band My Bonnie Lies Over the Ocean by Ella Fitzgerald Rule the Nation by U-Roy Gimme the Music by U Brown Pass the Kouchie by The Mighty Diamonds Cola Bottle Baby by Edwin Birdsong

The stars of Andrew Lloyd Webber's Sunset Boulevard, Sarah Brightman and Tim Draxl joined Michael McLaren in studio to discuss the characters and how musical theatre has changed.See omnystudio.com/listener for privacy information.

International icon Sarah Brightman began her stage career at the age of just 13, and never looked back. She's best known for creating the role of Christine Daaé in The Phantom of the Opera both in the West End and on Broadway, the cast album of which is the highest selling cast album in history. She went on to a stellar recording career, having released dozens of albums. She's now in Australia, ready for her close up, performing the role of Norma Desmond in Andrew Lloyd-Webber's Sunset Boulevard. Sarah revisits the early days of her career development. We hear about her breakthrough in Cats, the success of The Phantom of the Opera, plus her subsequent recording career which includes iconic performances with Andrea Bocelli and José Carreras. Sarah also tells about training to be an astronaut! Sarah Brightman stars as Norma Desmond in Sunset Boulevard from 28 August to 1 November at the Sydney Opera House.

Las continuas preguntas del ser humano sobre de dónde venimos y por qué tenemos que morir, buscan su respuesta más allá de las estrellas. La ciencia-ficción en el cine desde el "2001" de Kubrick en 1968 ha adquirido un sentido cada vez más teológico y metafísico. Así Ridley Scott se preguntaba en 1979 en "Alíen" si "en el espacio nadie puede oír tus gritos" y en 1982 en "Blade Runner" si el Creador puede darnos inmortalidad. De esto trata también el prólogo del Evangelio según Juan en su primer capítulo. Antes de analizar la película, escuchamos la canción del antiguo monaguillo inglés que quiso ser cura, Sting, sobre el "Amor sagrado" (Sacred Love 2003). La pregunta de si Dios está ahí te lleva inevitablemente a la cuestión de si es un Dios personal, porque sólo así puede amarnos. No sería la Fuerza o la Energía. lo que daría sentido al universo, sino un Amor Eterno, que merece toda nuestra admiración. El líder de The Police lo contrasta con la tragedia del 11-S y el amor que siente todavía por su mujer, Trudie, pero también lo que aprendió en el colegio católico de Newcastle. El compositor de "Jesucristo Superstar" y "Evita", Andrew Lloyd Webber escribió un "Requiem" en 1985 para su padre, un organista de iglesia que hizo música sacra, cuando lee en el New York Times sobre un un niño camboyano capturado por los Jemeres Rojos, que le dan la opción de matarse él, o a su hermana mutilada. El horror le inspira el "Pie Jesu" que canta Sarah Brightman, su esposa entonces. La oímos esta vez en una versión en vivo en 2008 en Viena. Este "Misericordioso Jesús" viene del lenguaje de los tradicionales "Agnus Dei" (El Cordero de Dios), el mensaje de Juan el Bautista al principio del Evangelio, sobre el único que puede quitar el pecado del mundo. Escuchamos algunos diálogos de la versión doblada de "Blade Runner" con los comentarios de José de Segovia sobre la música de Vangelis. Después oímos una canción del poeta y cantautor inglés Steve Scott sobre la Encarnación, "Flesh & Blood" en 1983, producido por Steven Soles, uno de los músicos de Dylan en "Desire" y la Rolling Thunder Revue, convertido al cristianismo en esos años. Para acabar con la exuberante declaración del propio Nobel de Literatura de que había sido "Salvado" (Saved) en una grabación en vivo en Santa Mónica en 1979, antes de que apareciera el disco del mismo título. Tras una larga introducción que traducimos, Dylan confiesa que sólo hay salvación por la sangre del Cordero.

Good morning!Big news this morning! Carolyn has been officially named as the PA Announcer for the San Francisco Giants at Oracle Park!The Morning Breeze Brain Tease: only 34% of people say they can make toast without a recipe.Nelson in San Francisco is our Morning Breeze Person of the Week!Changes are coming to your local 7-Eleven!Tickets to Sarah Brightman!

Good morning!The Morning Breeze Brain Tease: Parking can be so stressful that it has prevented up to 75% of people from going somewhere.The Brighter Side.Carolyn wonders why people driving company vehicles still drive erratically on the freeway.Cort's daughter has a "friends and family" discount at her new job... and right now, that means free.Tickets to Sarah Brightman!

Good morning!Carolyn calls out Cort on not telling her that her eye makeup was off...The Morning Breeze Brain Tease: You're twice as likley to do this at work in the afternoon compared to the morning...The answer: Complain.The Brighter Side.Cort is obsessed with Dutch Crunch sandwiches.Believe it or not, it's almost time for some in the Bay Area to head back to school.Sarah Brightman concert tickets!

Good morning!It's National Vanilla Ice Cream Day! What is your go-to ice cream flavor?The Morning Breeze Brain Tease: Nearly 10% say it's completely acceptable to take THIS from a restaurant:The answer: The pen you sign the check with.The Brighter Side.What is your go-to ice cream flavor?Cort had a man call him Grizzly Adams on the street yesterday... which means it's probably time to shave that beard!Sarah Brightman concert tickets!

**Kev White's White House Show Replay On traxfm.org. This Week Kev Gave Us Boogie, Dance & Pop Classics, (& Tunes You Have Not Heard In Years) From Sunfire, Adam Ant, Five Star, The Cult, Miquel Brown, The Whispers, Lionel Richie, Dan Hartman, Steve Harley & Cockney Rebel, Racey, Sarah Brightman, Jesse Green, Elton John, Andrew Gold & More #originalpirates #danceclassics #70smusic #80smusic #party #boogie #disco Catch Kev White's The White House Show Every Thursday From 7PM UK Time The Station: traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Sarah Brightman is an English classical crossover soprano singer, actress, and dancer.

Rerun: Swimwear never made more of a splash than when designer Louis Réard unveiled his daring new two-piece at the Piscine Molitor in Paris on July 5th, 1946. Showgirl Micheline Bernardini modelled the new attire, named after US nuclear testing site Bikini Atoll. Really. Eleven years later, Modern Girl magazine still considered it ‘inconceivable that any girl with tact and decency' would ever be seen wearing a bikini. Yet, by the sixties, it had become commonplace on beaches around the world. In this episode, Rebecca, Arion and Olly consider the role rival designer Jacques Heim played in inspiring the garment; reveal the countries where it remains illegal to wear a bikini (sometimes); and unearth Sarah Brightman's surprising role in Bombalurina's 1990 cover version of ‘Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini'... Further Reading: • 15 Hilarious First Reactions to the Invention of the Bikini (BestLife, 2019): https://bestlifeonline.com/bikini-invention-reactions/ • Fred Cole's scorn for bikinis (‘Fashion: In The Swim', TIME, 1950): http://content.time.com/time/subscriber/article/0,33009,813465,00.html • That Bombalurina video, featuring the future Mrs Barlow: https://www.youtube.com/watch?v=4LagoycfdCA ‘Why am I hearing a rerun?' Each Thursday and Friday we repeat stories from our archive of 800+ episodes, so we can maintain the quality of our independent podcast and bring you fresh, free content every Monday-Wednesday…  … But

Tim Draxl is an actor and singer with a career spanning more than two decades.Most recently he was seen in the SBS anthology television series Erotic Stories, for which he has received an AACTA Nomination for Best Supporting Actor in a Drama series, and the lead role in ABC's four-part musical drama In Our Blood, for which he has received both an AACTA Nomination for Best Lead Actor in a Drama Series and TV WEEK Logie Award Nomination for Most Outstanding Actor in a Drama Series.On stage, Tim was most recently seen in Belvoir's Into The Woods as ‘Cinderella's Prince/ Wolf' and in the role of ‘Steve Healy' for the first overseas tour of Alanis Morissette's Jagged Little Pill produced by GWB. Other theatre credits include critically acclaimed Only Heaven Knows, Catch Me If You Can and Evie May (all for Hayes Theatre), Torch Song Trilogy (Darlinghurst Theatre Company), Lip Service, Mothers and Sons (Ensemble Theatre), Freeway – The Chet Baker Journey (Sydney Opera House, Melbourne Festival, Brisbane Festival), Nailed (Griffin Theatre Company), A Midsummer Night's Dream (Belvoir), The Sound Of Music (GFO) and She Loves Me (The Production Company).Other television credits include anthology series Summer Love and critically acclaimed The Newsreader both for the ABC, hit series A Place to Call Home as series regular Henry Fox (FOXTEL), the Molly Meldrum telemovie Molly, the critically acclaimed series Serangoon Road, Reef Break, Mrs Biggs, Home & Away, Miss Fisher's Murder Mysteries, Crownies, Day One, Tangle, Headland, Supernova, Dynasty: The Making of a Guilty Pleasure and The Shark Net.Tim's film work includes action film Blacklight alongside Liam Neeson, Guardians of the Tomb, directed by Kimble Rendall, A Few Best Men, Undocumented, Ivory, In My Sleep, Red Canyon, Right Here Right Now, Travelling Light, Swimming Upstream, and Dirty Deeds.He received his first TV WEEK Logie Award Nomination for Most Outstanding Actor in a Drama Series in 2005 for The Shark Net and an ASTRA Award Nomination (later renamed The AACTA Awards) for Most Outstanding Performance by an Actor in a Comedy for Supernova (2006). His one man show Tim Draxl in Concert was nominated for a Helpmann Award for Best Live Music Presentation in 2002 and has received several Sydney Theatre Award nominations for his cabaret and theatre shows winning the award for best cabaret production with Back For Seconds in 2006.He has released four solo albums. ‘Ordinary Miracles' and ‘Insongniac' for Sony Music Australia under the Columbia label, the independently released ‘Tim Draxl Live at the Supper Club' and ‘My Funny Valentine' released through Ambition Entertainment/EMI which reached number 1 on the iTunes jazz charts.Tim can currently be seen on Australian stages playing the role of Jodie Gillis opposite Sarah Brightman's Norma Desmond in Andrew Lloyd Webber's Sunset Boulevard. This will be the musical theatre event of the year. Don't miss this strictly limited season at Melbourne's Princess Theatre from May, and at the Sydney Opera House from August, 2024.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

British musician Steve Harley, whose glam-rock band Cockney Rebel had an enduring hit with the song Make Me Smile (Come Up and See Me), has died at the age of 73. Harley said late last year he was being treated for “a nasty cancer”. Born in London in 1951, Harley worked as a trainee accountant and as journalist on local newspapers, and began his performing career at London folk clubs. He formed Cockney Rebel, which released a debut album The Human Menagerie in 1973 before foundering over creative differences. With a new line-up and rebranded as Steve Harley and Cockney Rebel, the band released the 1975 album The Best Years of Our Lives, which contained Harley's biggest hit. With its barbed lyrics – aimed at Harley's former bandmates – and infectiously catchy chorus, the Alan Parsons-produced Make Me Smile topped the United Kingdom singles chart. It went on to be covered scores of times and was used on countless soundtracks, including in the 1997 film The Full Monty and in ads for Carlsberg beer and department store Marks and Spencer. Harley also sang the title song of Andrew Lloyd Webber's musical The Phantom of the Opera alongside Sarah Brightman when it was released as a single in 1986. He was originally cast in the title role for the stage musical but was replaced by Michael Crawford. Ultravox frontman Midge Ure, who produced Harley's 1982 track I Can't Even Touch You, called him a “true ‘working musician'”. “He toured until he could tour no more, playing his songs for fans old and new,” Ure wrote on social media. “My thoughts go out to Dorothy and his family at this very sad time. Our songs live on longer than we ever can”. Harley is survived by his wife Dorothy, children Kerr and Greta and four grandchildren.

Hello and welcome back to the 68th episode of Loving Later Life, and I have to say that you are in for such a very special treat. You're about to hear a story proving the fact that it is never, ever too late to see your dreams come true. This is a story of two incredible women in their 80's…one of whom is my mother. It is a story of friendship, of courage, tenacity, resilience, love, and passion. It is a story that comes full circle spotlighting relationships, perseverance, and timing. I am so excited to say that due to a change in their schedule while my mom was in town for a presentation they were doing about Sarah at Dominican University, I was able to grab them for 30 minutes for an impromptu recording at a small park sitting at a picnic table. You all met my mom Elaine Lang Ockner in episode 35 of LLL and if you haven't listened to it yet, you must check it out after you listen to this episode. She is is a pianist/composer, and Musical Director. She has composed the music for many musical stage productions and created original music for Bravo's TV documentaries on the lives of Sarah Brightman, Jackie Chan and Nathan Lane. She was also pianist and Musical Director for Princess Cruises, Royal Viking, and Sitmar Cruise Lines. My mom met June Richards in 1979. June is a professional actress, theatre director and emeritus professor. June created theatre programs for Dominican University, Contra Costa College, and served as Chair of Visual and Performing Arts at San Diego City College, and has directed more than 100 productions. Since they met, they've been dear friends and artistic partners. Over the years their collaboration created many theatrical projects and wacky adventures behind the scenes. As single mothers they persisted even as they experienced heartache and sadness with relationships and loss of loved ones; choosing not to be taken down but instead to focus on their creative passion. One constant thread in the quilt of their creations was a musical they wrote in the 1980's of the story of Sarah Bernhardt, the renowned French actress who also defied the odds and never gave up. Fast forward 40+ years later to right now, their musical “The Divine Sarah” has been selected out of over 40 submissions of new works by the Ross Valley Players in Marin County, California to be produced this month, March 2024. Ironically, 100 years after Sarah's death, Paris recently had a Sarah Bernhardt exhibition. Vogue magazine had a spread, and Barbra Streisand is a super fan, talking about Sarah in her new book. (And if you're listening Ms. Barbra, there is a ticket waiting for you at the theatre!) Loving Later Life listeners, if you want to be moved and inspired, you must listen to these women tell their story. Annnd, be sure to listen all the way through because I got special permission to share with you a one-minute sneak preview of one of the songs played by my mom, the composer, Elaine Lang Ockner. So now, picture if you will, I'm sitting at a picnic table with these two beautiful and talented women in the warm sun, birds chirping, (the occasional car driving by), and my phone resting on the table to record their incredible story….

On the 87th episode of the Slice By Slice podcast, Jesse and Josh start Season 6 with a singalong, covering Anna and the Apocalypse and Repo the Genetic Opera for their second Horror Musicals Episode. Recorded on 1/29/24. IntroNews and AnnouncementsCorrections and UpdatesWhat We WatchedFilm DiscussionsAnna and the Apocalypse (2017)Repo: The Genetic Opera (2008)Outro

Musical Mania Mayhem month continues with vRepo! The Genetic Opera (2008) and return of special guest Cassandra Hodgins - #1 fan of Repo! The Genetic Opera~! Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out! Starring: Alexa PenaVega, Paul Sorvino, Anthony Stewart Head, Sarah Brightman & Paris Hilton Directed By: Darren Lynn Bousman Synopsis: In the mid-21st century, an epidemic of organ failures leads to the rise of GeneCo., a company providing transplants at a great price. Those who miss their payments become targets of GeneCo. mercenaries, who repossess the organs. In a world of drug addiction and legalized murder, a sheltered youth (Alexa Vega) seeks a cure for her rare disease as well as information about her family's mysterious history. Her questions are answered at "The Genetic Opera." Watch live at: https://www.twitch.tv/heydidyouseethisone every Thursday at 8 PM EST Audio version of the show: https://podcasters.spotify.com/pod/show/heydidyouseethisone #repothegeneticopera #musical #horror #comedy #heydidyouseethisone #comedy #podcast #filmreview #movies #films #moviereviewpodcast #moviereview #filmreview #podcast #podcastersofinstagram #spotify #podcaster #podcasting #podcastlife #podcasts #youtube #youtuber #subscribe #youtubevideo #like #comment #entertainment #follow #media #live #funny #life #reality #podcasthost #podcastaddict #anchorfm #spotifypodcast #inspiration #podcastnetwork #podcastcommunity --- Send in a voice message: https://podcasters.spotify.com/pod/show/heydidyouseethisone/message

On today's episode, we're heading over to visit the graveyard to see our dead mom, and finish the night at Blind Mag's show, while we revisit the goth cyber punk musical cult hit, Repo! The Genetic Opera (2008). This movie was directed by Darren Lynn Bousman and co-written by Darren Smith and Terrance Zdunich.This movie stars Alexa Vega, Paul Sorvino, Anthony Stewart Head, Sarah Brightman, Paris Hilton, and Bill Moseley.Intro/Outro Music: "Phantom Fun" by Jonathan BoyleShow E-Mail: cultcinemacircle@gmail.comFollow Cult Cinema Circle on Instagram, Twitter, and Letterboxd Hosted on Acast. See acast.com/privacy for more information.

謙信的Mixerbox 訂閱節目：獨立思考，請大家多多捧場，支持謙信繼續提供好節目 謙信新書：戰國名女性，在Readmoo kobo 與google書店都有販售 業務合作請洽：japantraveler1@gmail.com athrunzhung@gmail.com 美國時間2023年4月16日，美國紐約百老匯史上最長壽音樂劇「歌劇魅影」，從1988年在百老匯首演以來，經過35年、1萬3981場演出後，累計創下近2千萬人次進場觀看、票房收入超過14億美元，折合約427億台幣等難以超越記錄後，在這天正式告別百老匯，原因就是百老匯受中共病毒疫情影響一度關閉18個月，由於不堪虧損，歌劇魅影忍痛向百老匯觀眾說再見。 相信許多朋友都看過聽過，這部改編自勒魯的同名法國小說，描述一位戴著面具遮掩醜陋面貌的音樂天才，總是徘徊在巴黎歌劇院，並訓練心愛的女高音克莉絲汀，最終演變成淒美三角戀的故事。但謙信可不是什麼歌劇評論家，今天要說的是歌劇魅影背後的真實故事。…. fb專頁：https://www.facebook.com/historysquare/ FB社團：https://www.facebook.com/groups/873307933055348 Podcast : http://kshin.co​ Youtube:https://www.youtube.com/watch?v=C2S-492vfSw&list=PLolto1Euzd4XcbP9oX9JXI3wOlrovdgcC twitter:@alexzhung 電子書著作 Amazon : https://reurl.cc/g8lprR​ Readmoo ：https://reurl.cc/jqpYmm​ Kobo : https://reurl.cc/GdDLgW​ Google : https://reurl.cc/9ZyLyn​

BONUS EPISODE: Is there a Halloween version of a Christmas carol? In this spooky season minisode of THE STORY SONG PODCAST, we're having a very serious Halloween party. Join your hosts as they create a binding, definitive list of the eight songs that belong in the Halloween song canon. We'll explain Halloween to visitors from outer space, avoid songs that are genuinely upsetting, and later, go clubbing with Santa and Liza. So grab a bite-size Snickers, put on your best disguise, and enjoy this special Minisode of THE STORY SONG PODCAST. Continue the conversation; follow THE STORY SONG PODCAST on social media. Follow us on Twitter (@Story_Song), Instagram (storysongpodcast), and Facebook (thestorysongpodcast). THE STORY SONG PODCAST is a member of the Pantheon Podcast Network. “The Monster Mash” by Bobby "Boris" Pickett and The Crypt-Kickers (from the album The Original Monster Mash) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “Thriller” by Michael Jackson (from the album Thriller) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “This Is Halloween” performed by The Citizens of Halloween (from the album The Nightmare Before Christmas Original Motion Picture Soundtrack) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “(You're the) Devil in Disguise” by Elvis Presley (from the album Elvis' Gold Records, Vol. 4) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “Superstition” by Stevie Wonder (from the album Talking Book) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “Every Day Is Halloween” by Ministry (from the album Twelve Inch Singles) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “Werewolves of London” by Warren Zevon (from the album Excitable Boy) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “The Phantom of the Opera” performed by Michael Crawford and Sarah Brightman (from the album The Phantom of the Opera Original London Cast Recording) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. “Grim Grinning Ghosts” from Disney's The Haunted Mansion, performed by The Mellomen (available on the album Walt Disney World Official Album) is available on Apple Music, YouTube Music, Amazon Music, Deezer, Pandora, Spotify, or wherever you listen to music. “Black Magic Woman” by Santana (from the album Abraxas) is available on Apple Music, YouTube Music, Amazon Music, Tidal, Deezer, Pandora, Spotify, or wherever you listen to music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to ASCO's Journal of Clinical Oncology essay, “Playing by Eye: Using Music as a Parallel to Clinical Oncology,” by Dr. Beatrice Preti, Adjunct Professor at Western University in London, Ontario, in Canada. The essay is followed by an interview with Preti and host Dr. Lidia Schapira. Preti discusses the parallels in playing music by ear and clinical oncology encounters. TRANSCRIPT Narrator: Playing by Eye: Using Music as a Parallel to Clinical Oncology, by Beatrice Preti, MD  The Yamaha keyboard in our cancer center is strategically placed. It rests in the center of the tall, lofty atrium, an open space that allows sound to travel and echo, creating an effect one might expect from a concert hall or a large-capacity theater. From their position, keyboard players cannot fully appreciate the music they create. In the middle of the atrium, any sound is flat, shallow, and short-lived. But, further away, and on the upper levels of the center, one can hear the music echo as the walls seem to vibrate with reflected sound. It is enough to pause one's step to listen, perhaps recalling some half-buried memory or latent emotion a song elicits. But on center stage, beneath the streetlamp-shaped light that feels all too much like a spotlight, the pressure is on. The keyboard faces half of the waiting room and the lobby Tim Horton's, which means, as one plays, one can see reactions to the music—including winces when fingers slip! Faces turn solemn and reflective during slower songs; patients, relatives, and health care workers alike dance and clap to faster-paced, popular tunes. Feedback and commentary are steady—about the music, the song choices, and, of course, song requests. I find song requests challenging; a combination of performance anxiety and only moderate competence on the keyboard affects the quality of the music that can be produced on demand, yet does nothing to eliminate the desire to fulfill a patient's request. Indeed, the request is usually the simplest part: Do you know Bette Middler's “The Rose”? A simple tune, one of my mother's favorites. But I haven't played it in years, since high school, actually, and the once-familiar notes now elude me. But the empty space after a request lingers awkwardly, and the hopeful anticipation from the patient and their family squeezes my heart like a vise. To break the pressure, I test out a few chords. Dozens of pairs of eyes stare down at me from all over the building. My hands start to seize. To freeze. Panicking, I hit a note. Seems okay. Then another one. And a chord. …that was supposed to be a chord. The eyes pin me down. I see disappointment. I hear whispers. They must be about me, that it's not as good as it sounded before, that I could do with some practice. I try again. Better. Another note. A broken chord. An octave. A melody emerges. Someone smiles. I think. Sweat soaks my shirt. Are we at the chorus yet?  How much longer is there left in this song? Singing starts somewhere to my right, also a little out of tune, and it gives me the courage to continue on, although the experience is nerve-wracking enough to make me dread song requests—despite the apparent joy they bring. The solution, once considered, seems simple: practice playing by ear. It is impossible to predict who might be walking by on any particular day, but having the skills to reply to a request with at least a few bars of a beloved tune, thus brightening a face (and a day!), seems well worth the effort. Playing by ear, like most learnt skills, is more manageable when broken down into steps.  The first step (or requirement, really) is a general familiarity with the song and a plan for how to approach it (fast or slow? Block chords or broken? Major or minor key?). Once this is determined, one begins with the first verse. The first time is usually rocky, and the mistakes are obvious. But, with luck, a familiar melody starts to emerge by the chorus. The music grows louder with confidence, and gauging audience reactions helps musicians see how close they are to the target tune and where they need to adjust. Playing by ear—or, perhaps, playing by eye, as it is the reactions which truly guide the musician—is an amazing skill, one which interestingly spills into more domains than initially anticipated. After several ear-practice sessions, I noticed a strange pattern in my clinics—the steps of a clinic encounter mirrored playing a song by ear! Prior to each encounter, I would consider the diagnosis and treatment plan, as well as a vague approach of how to handle the encounter, given the goal of the visit and the patient's journey thus far. Once inside the room, however, I began to alter this plan based on the patient's (and family's) responses, taking cues both verbally and nonverbally. Sometimes my words, tone, or gestures fell flat, and redirection was needed. Sometimes an unexpected reaction told me I'd just made a mistake, and I backtracked, trying again, paying closer attention to the reactions to ensure the second try was better. But, gradually, we (usually!) reached a steady state and manage to complete the visit on a strong note. Naturally, then, the next step would be to practice clinical encounters using these same steps, trying to take my clinical skills to the next level. Unlike a song, however, a clinic visit's stakes are higher—especially in the high-emotion field of oncology—and striking even a single mistimed chord could lead to disaster. I start small: awareness, noticing reactions I didn't before. There's the fullness in an eye before tears fall, the pallor of a clenched fists' knuckles, the subtle tremor of a shaking leg. I learn to call them out by name, ask about them: grief, frustration, fear.  There is a pause, an empty space after such a direct question. A wide-eyed stare. My heart pounds, awaiting the verdict. Was my diagnosis correct? A misjudgment breaks rapport, but accuracy is rewarded with surprise, and opening up. Even family members look surprised, as details are elicited that weren't before. There is no singing along—cancer is not a beloved showtune. But as my skills grow, I find that not only are patients and families less tense during encounters—but I am, as well. I develop faith in my skills to read the room and alter  my direction based on what I see. And, perhaps, the biggest clue that one has succeeded—on both fronts—is the heartfelt thank you that follows the encounter.  This parallel has made me realize that every interaction between two people, just like every song, has its own beat. Its own melody. Is this fast or slow? Calm or anxious? Is this a happy exchange, or a sad one? The dynamics of the encounter influence the melody, and a misstep or misplaced word, like a note, can lead to dissonance. However, by listening to the song of the encounter and adjusting as appropriate, an astute individual can actually improve the interaction, maximizing the potential of the encounter, and allowing for a strong conclusion to the visit. It isn't easy work, to be sure, and, sometimes, the impact of the song can be hard to appreciate, especially within the confines of a four-walled clinic room. However, like the keyboard music in the atrium, the echoes resulting from one clinic encounter have the potential to reach far-reaching corners, echoing in ways previously unimagined, and lingering far longer than when the song ends. Dr. Lidia Schapira: Hello, and welcome to JCO's Cancer Stories: The Art of Oncology, which features essays and personal reflections from authors exploring their experience in the field of oncology. I'm your host, Dr. Lidia Schapira, Associate Editor for Art of Oncology and a Professor of Medicine at Stanford University. Today we're joined by Dr. Beatrice Preti, Adjunct Professor at Western University in London, Ontario, in Canada. In this episode, we will be discussing her Art of Oncology article, “Playing by Eye: Using Music as a Parallel to Clinical Oncology.”  At the time of this recording, our guest has no disclosures.  Beatrice, welcome to our podcast, and thank you for joining us. Dr. Beatrice Preti: Thank you, Lidia. It's a pleasure to be here. Dr. Lidia Schapira: So I usually start by asking our authors to tell me what they're reading, but in your case, I'd love to ask you a little bit about perhaps what you're listening to or your favorite musical pieces. Dr. Beatrice Preti: Yes, absolutely. Well, I do love music. I play three instruments myself, so I have several YouTube playlists that, as I hear a song, I'll add different ones to. So one of them is retro tunes, like '80s, '70s hits that I know mostly from my parents. And then I have Broadway hits, musical hits because I love musicals and singing. And then I have a random one that has a lot of Taylor Swift, much to the chagrin of my colleagues because I will play that in the cancer center, not around patients, but my colleagues.  Dr. Lidia Schapira: That's lovely. Well, I think Taylor Swift is a global phenomenon, is all I can tell you. Has music always been a part of your life? Dr. Beatrice Preti: Yes, very much so. I think- I started piano lessons formally when I was seven. Then I taught myself guitar as a teenager. And then once I hit medical residency, actually, my treat to myself was to start teaching myself violin. And I had the opportunity to take some lessons for a few years as well, which was absolutely lovely. But growing up, my mother loves music as well. She was a Sarah Brightman fan, a British singer. And we used to have her playing and my mother would sing. So I know all of Sarah Brightman's songs from the time I was a very early child, trying to pick those out on the piano as a young child as well. Dr. Lidia Schapira: So let's talk a little bit about how you bring that wonderful part of your life into your work as a physician and as an oncologist. Do you ever sing with or to patients? Do you talk about your love of music? Do you play music during your consultations? I'm curious all of a sudden. Dr. Beatrice Preti: Yes, absolutely. So I guess one way that I do bring it in is I have a little violin pin that I wear on the lapel of my white coat. It's a conversation point with many patients because the way I approach oncology is really to try to bring in a human aspect and get to know patients, get to know what they like, who's at home with them, what are their lives like outside the cancer center. And oftentimes people who are musically inclined will point to it, and it's a conversation starter, which can actually be quite relevant when we're talking about treatment decisions and such. And then I have the opportunity as well to play and go down in a cancer center. And, yeah, patients will sing and I will sing along with them as well. Dr. Lidia Schapira: So you speak of this with so much joy. Tell me a little bit about this piano that I imagine from your description, located in the center of a large atrium in a cancer center, and people just walk by and informally connect with you and they ask you to play, when do you play and how long do you play? When did it start? Dr. Beatrice Preti: When I started off in oncology, I was extremely shy. I still am. And one of my mentors, a cellist, who plays the cello found out about my musical inclinations and said, "Well, we need to get a piano in the cancer center lobby. Essentially, I can get Beatrice down there and start getting her more comfortable in front of groups, in front of people, in front of patients." That really, I think, was the rationale, but maybe on paper it's more to have something nice for the patients to listen to. And he actually got a piano donated or, sorry, an electric keyboard donated to the cancer center. We did have a piano a number of years ago, but unfortunately it was too loud with the acoustics of the center, so we needed something with volume control. There's actually a lot of keyboard, a lot of black keyboard that's down there now.   And the first time I played was probably two, two and a half years ago now with my mentor, with the cello. I was very, very nervous. All these people were staring at you and all these people were looking at you. And I actually had a bit of a meltdown just before I thought, "Well, I can't do this. There's no way I can do this." But he coached me through it and it was the first of many things that he coached me through related to oncology, relating to overcoming your fears to try to help other people. And that's really how that started. And eventually I got brave enough to go down and play on my own and chat with the people down there. Dr. Lidia Schapira: That's a beautiful story, both of service and of mentorship. And to see both of these things come together. As you say, your mentor probably had two things in mind: helping the community of patients that you serve and also helping you build confidence, as you say. So talk a little bit about this confidence and this lovely metaphor, in a way. You talk about finding the right tempo or finding the right music to play to please somebody or to help them relax, bring them joy. And then you draw some parallels to how you use communication in the consultation room, taking your cues from people and knowing perhaps when to slow down or when to change the tone or the voice. Talk a little bit about that. It's fascinating to me. Dr. Beatrice Preti: Well, I think one of the things I struggle with in oncology, and I certainly know I'm not the only one, is that sometimes you feel very helpless. Because we do have wonderful drugs, we have wonderful therapies, I'm a medical oncologist, so drug therapies, but they don't always work. And sometimes, despite your best efforts, despite the best that medicine has to offer, you feel very helpless, and the outcome is not what you or the patient wants. So trying to find something that you can offer and that you can give, that's more than just a treatment or more than just a drug, that's essentially giving of yourself, what can I, as a person, offer to a patient? And I guess superficially, the music itself is something that you can offer. To give people even just a few moments where they can escape the cancer center and they can listen to something. And when I'm down there, I'll play a lot of these tunes and these kinds of things, where maybe it triggers a memory that somebody might have of a time and place that's quite different than the one they're in right now. But also, it helps evoke that human aspect that I think we touched earlier. And as you say, Lidia, and as I say in my piece, about trying to match the tempo, trying to match the rhythm, because conversations also have tempos and rhythms. Human interactions have variations and they have moods. And it's also practice in a way. If you can connect to someone through music, perhaps you can connect to your words as well. Perhaps you can connect with your actions as well. Much the same sort of strategy. Dr. Lidia Schapira: And you bring up a very important point, I think, and that's to play, as you say, you start by saying ‘by ear', maybe no, but by eye because basically you're also taking in the visual cues that are coming from your audience. In this particular case, it's you're playing in the lobby, but in a consultation room from the patient and family and everybody who is there, and being very quick to take that into account and to redirect or make a change. And when you talk about that in the music, it's so easy to understand. And when you talk about that in the consultation room, that's such a skill. That's sort of where the art and the skill seem to go together. Can you say a little bit more about that or share with us some time or some anecdote where that really worked for you? Dr. Beatrice Preti: Honestly, I think the first thing that comes to mind is times when it didn't work. Sometimes, especially as a more junior learner, you only realize that the patient encounter isn't going well when it's really not going well. You really miss those early cues that a patient is telling you. That they're in distress, that they're not happy with what they're hearing. And it was, again with the same mentor observing me through several patient encounters and really deciphering it, saying, “Well, this is where– What did you think when they said this? And did you notice this look?” And no, I didn't notice this look. Well, he did, and maybe you can pay more attention.  And I think it was actually when I was playing music that I really started to make those connections because down there, I'm playing by eye. I'm trying to watch this patient or this person - half the time, I don't know who they are - to see am I playing the tune that they want, and is it recognizable enough? Does it sound okay? Is it transporting them to that place where they're hoping to be and then bringing that into the clinic room and saying, “Okay, this is actually working. I can look at this person and I can figure out how this is going and try and adjust or redirect to really try and make this encounter the most valuable it can be for them and help them get out from what they need to get out .” Dr. Lidia Schapira: So Beatrice, what I'm hearing is an enormous sense of commitment to your patients. It's absolutely lovely. But I wonder if I can ask you a little bit about the flip side of that, and that is to reflect a little on perhaps how playing and sharing music reduces your stress or increases your sense of being well and being yourself and being more confident. Can you talk a little bit about that?  Dr. Beatrice Preti: The bottom line is that when a patient encounter goes well, you also feel better because if it's not going well and people are upset, you will also be upset. So, again, very superficially, that's a good end goal to have. Dr. Lidia Schapira: That's right.  Dr. Beatrice Preti: Music itself is very relaxing for me. Maybe when you're a small child and you have to play the exam pieces or you have to play what the teacher says, or what your parents say, it's not quite as much fun trying to learn everything. But now I'm at the point where if I hear a song or I see a song, I'd like to play the song, I can just do it. So it's very lovely that way. Of course, I have all my instruments at home, so even if there's a song that perhaps is not cancer center appropriate, I can just play it at home. I hope the neighbors don't complain and it's fine, but it's really fantastic, especially singing. So being able to sing with two of my instruments at least, I don't know. I'm sure there's violinists who sing. I'm not one of them. I don't have those skills. But with the other two, just go down into the basement. I have a microphone, I have a sound system and just get it all out. Get out all your frustrations, all the things that happened that day. It's very cathartic. It's a good release  Dr. Lidia Schapira: Over the years, we've had a few essays in Art of Oncology that talk about music and how important music is for that particular author. And it's just so lovely to hear. So I want to end by asking you a very simple question, and that is, what is the song that is most often requested these days? Dr. Beatrice Preti: Oh, that's hard. That's hard. It really depends who it is, because I've played to different generations. I have a rendition of “Zombie” by The Cranberries that a lot of people seem to like, “Losing My Religion.” But these days it's “Flowers” by Miley Cyrus, actually, I would say. Everybody seems to know that song. Dr. Lidia Schapira: Well, it makes me feel very old because I don't. I was hoping you would say something about these ‘70s or I'll be more comfortable with ‘80s or even with Taylor Swift, but I'll have to go listen now. So thank you. I want to give you the last word in the podcast. What is the central theme of your message as an author and as somebody who's sort of bringing this forward and putting this in front of the global community of oncologists, what can music give us? Dr. Beatrice Preti: Yes. Well, I think music and writing and words, which are a form of music in a way, they can help us remember, I think, the most important thing about Oncology, which is the human aspect of it. We're dealing with people who are frustrated, scared, alone, lost, in some of the darkest points in their lives. And it's a privilege to be able to serve and help these people through their journeys, but that's not always with drugs and treatments. Sometimes that's just with what we do or what we say, and that's a gift. But it's also a skill that needs to be developed and remembered. And having music is one of the things I think that helps me do that.  Dr. Lidia Schapira: That's absolutely beautiful. So thank you very much for the work you do and for sending us your essay. And to our listeners, until next time, thank you for listening to JCO Cancer Stories: The Art of Oncology. Don't forget to give us a rating or review and be sure to subscribe so you never miss an episode. You can find all of the ASCO shows at asco.org/podcast. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions.   Guests on this podcast express their own opinions, experience and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity or therapy should not be construed as an ASCO endorsement.   Show Notes: Like, share and subscribe so you never miss an episode and leave a rating or review.   Guest Bio:  Dr. Beatrice Preti is an Adjunct Professor at Western University in London, Ontario, in Canada.    

Playwright and actor Vince Gatton is here to talk about an album that is not his favorite show but has a strong hold on him nonetheless. Topics include: unusual ways, first recordings vs best recordings, burning out cassettes, disgustingly wonderful fithiness, and what happens when you can get Elaine Paige instead of Sarah Brightman but not until the weekend. Vince Gatton Dot Com NSFW: Anita Morris - “A Call from the Vatican” REALLY NSFW: Jane Krakowski - “A Call from the Vatican” Featured recordings: Nine - The Original London Concert Cast Recording (1992) • Nine - Original Cast Album (1982) • Nine - The New Broadway Cast Recording (2003) ORIGINAL CAST MERCH! Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where 2023 is THE YEAR OF BARBRA celebrating the filmography of Ms. Barbra Joan Streisand! Patreon • Twitter • Facebook • Email

SUMMARY:You wanted the best, you got the best! Rock & Roll Hall of Famer Paul Stanley of KISS joins Songcraft to talk about his long and diverse career through the lens of his role as a songwriter.PART ONE:Paul and Scott talk about musicians who adopt personas, how KISS seems to have the best timing of any musical group of all time, and their respective frightening memories of the band. Then they spend the rest of the time pinching themselves that Paul freakin' Stanley is on Songcraft.  PART TWO:Our in-depth conversation with Rock & Roll Hall of Famer Paul StanleyABOUT PAUL STANLEY:Paul Stanley is best known for his vocals, guitar, and outlandish stage performances that have helped define KISS. Combining elements of shock rock and glam to set a new standard for theatrical arena rock, Stanley's Starchild persona, alongside fellow band co-founder Gene Simmons's Demon character, has become one of the most iconic figures in music history. One of the best-selling bands of all time, KISS has sold over 75 million albums worldwide, and has earned more Gold-certified albums than any other band in the US. Fourteen of their albums have been certified Platinum, three of which have earned multi-Platinum status. Stanley has written or co-written many of the band's best-known songs, including “Strutter,” “Rock and Roll All Nite,” “Shout it Out Loud,” “Detroit Rock City,” “God of Thunder,” “Hard Luck Woman,” “Love Gun,” “I Was Made for Lovin' You,” “Lick it Up,” “Heaven's on Fire,” “Crazy, Crazy Nights,” “Forever,” and many others. In addition to his work with the band, Stanley released a self-titled debut album in 1978, and another solo album in 2006 called Live to Win. More recently, he released the album Now and Then, a collection of R&B classics alongside vintage-style originals under the name Paul Stanley's Soul Station. Defying categorization, he has written a hit song with Michael Bolton, duetted with Sarah Brightman, and even starred in a production of Phantom of the Opera. Paul's songs have been covered by a diverse list of artists, including Cher, Nirvana, The Replacements, Green Day, Ronnie Spector, Bonnie Tyler, Toad the Wet Sprocket, and Garth Brooks. As a member of KISS, Paul was inducted into the Rock & Roll Hall of Fame in 2014. This fall, the band wraps the final leg of their End of the Road tour, culminating in a pair of shows at Madison Square Garden in New York, the city where KISS first formed in 1972. 

“As first-year teachers, we have more power than we think we do. Our voice is heard more because we're the new person in town. As young teachers, I think that our confidence is still growing. We're still learning to navigate what to ask and how to ask admin... You can always ask for something, and the worst thing they're going to say is ‘no' or ‘not yet.'”Christina Hall is a master's student in Choral Conducting at Arizona State University.  Concurrently, she is in her third season as a soprano in the GRAMMY-award winning Phoenix Chorale.  Christina served as the choir director at Millennium High School in Goodyear, Arizona, for four years teaching choir and class guitar and founded the first piano curriculum in the district. She is a native of Walla Walla, Washington, and received her Bachelor of Arts in Choral Music Education at Northern Arizona University.  While in Flagstaff, Christina directed the Living Christ Lutheran Church Choir for three years and performed at Carnegie Hall in December 2019.Vocally, she trained with Dr. Judith Cloud and performed as a backup singer for Josh Groban and Sarah Brightman. An active member of the American Choral Directors Association, Christina frequently attends state, regional, and national conferences and recently presented at the AzACDA State Conference on Program Advocacy. She serves her second term as the Youth Repertoire & Resources Coordinator for the Western Region of the American Choral Directors Association and first year as the AzACDA Vocal Jazz Chair.To get in touch with Christina, you can find her on Instagram (@challmusic) or Facebook (@christina.hall.213), visit her website (https://www.challmusic.com), or email her at cihall1@asu.edu.Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

This week Kevin and Justin reconnect after an impromptu hiatus! Justin fills us in on her move back to New York and becomes a Southern Belle in the Outer Banks along the way. Kevin jet sets around the US and gets a little thirst for southern boys in South Carolina.Phantom of the Opera closes and the gays have thoughts, Justin dishes on some Florida politics,  Kevin has some stories to share about 6AM gym sessions and changes teams when it comes to Moes. The Gays catch up on the Real Housewives of New Jersey and discuss which Housewife Husbands they'd smooch.This Weeks Seltzer Sampling is the Tuly Wonder World Pack! Listen to see what we think about this pack and if you should get your hands on it!What should we drink next?! Cash App us $TwoBlandGays to sponsor a drink on the next episode!Live a Stress Free Life with CBDStock up on your favorite treats from the Weinert's Elk Creek Farm!Local and family owned, the Weinert's Elk Creek Farm specializes in premium and organic CBD oils, lotions and edibles. 3rd party tested, everything is clean, safe, non-GMO and gluten free! If you're new to CBD, or looking for a higher quality product, the Weinert Family has you covered! Hit the link below and use code TBG25 to get 25% off your first order of all natural CBD products! Click here to start shopping and save 25% off when you use code: TBG25INSTACARTGrocery shop without leaving your couch! Get FREE SHIPPING on your first Instacart order of $35 or more! Never go to the grocery store again! Click here to shopSupport the showEnjoyed this episode? Don't forget to share with your pals and follow us on Instagram @TwoBlandGays

We descend into the depths of the Paris Opera for the 1986 musical phenomenon The Phantom of the Opera – one of the most successful & beloved musicals of all time, which centers around a troubling story about abuse, lust, and the power of music. We talk about: – Is the Phantom (or "Erik" as he's known in the original novel) a serpent or a savior? – What is the relationship between Christine and the Phantom? An abusive mentor relationship, a forbidden love, an artistic partnership or a classic Gothic obsession? – How did power and patriarchy operate in the Victorian world of the Paris Opera – and in the 1980s world of rock musicals?   You'll hear: – Michael Crawford, Sarah Brightman and the cast of the 1988 Broadway Cast Recording.   Continue the conversation with Peter (@pgeinvan) and Nathan (@nathan_lerud) on Twitter, and follow the Gospel of Musical Theatre on Instagram or Twitter @gospelofmt.

THE PHANTOM OF THE OPERA  Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Book by Richard Stilgoe & Andrew Lloyd Webber | Based on the novel Le Fantome de  l'Opera by Gaston Leroux | Originally Directed by Harold Prince | Orchestrations by David Cullen & Andrew Lloyd Webber | Original Production by Cameron Mackintosh Ltd. and The Really Useful Group Ltd. Works Consulted & Reference :The Phantom of the Opera (Original Libretto) by Andrew Lloyd Webber, Charles Hart, and Richard StilgoeSense of Occasion by Harold PrinceUnmasked by Andrew Lloyd WebberRazzle Dazzle by Michael ReidelThe Complete Phantom of the Opera by George PerryMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"The Music of the Night” from  The Phantom of the Opera (Original London Cast Recording) | Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Performed by Andrew Lloyd Webber, Phantom of the Opera Original London Cast, Michael Crawford"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

Today's edition of TWTW has 1980s showbiz razzle dazzle in spades, thanks not only to musical comedian Vikki Stone, but also because of the couple she brought for us to celebrate. You'll be masking your excitement at the memories this romance will invoke, but don't get catty with the hot gossip... because Andrew Lloyd-Webber and Sarah Brightman are the darlings of 80s Westend... Well, Sarah definitely was anyway.  This episode has the lot, royal cameos, Elaine Page and messing around in swimming pools, so sit back, relax and immerse yourself in this jacuzzi of musical mayhem...  Learn more about your ad choices. Visit megaphone.fm/adchoices

Next Friday on Before the Downbeat it is our 50th episode and wonderful Autumn Smith makes her grand return! To celebrate that we are tackling one of the biggest and most popular musicals of all time The Phantom of the Opera! Hear these two friends deep dive into the 30+ year production history. They put the Phantom on trial for the murder of chief stagehand Joseph Buquet and they heavily debate whether the Phantom in general deserves the amount of sympathy and loving attention he receives from fans. Plus hear all about Autumns experience seeing the original Broadway production with Michael Crawford and Sarah Brightman. All of this and shattered chandelier on next Friday's all new episode! Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. Facebook Instagram Twitter

This week it's just John and Planty and they are talking Bad dates, The Marquis De Sade, Voltron, Sarah Brightman and who we think are the worst vampires in Cinema.---Join our Patreon for £1 a month and we'll shout you out each episode as well as give you the chance to pick an episode each month and give you access to hours of bonus content like interviews, facts and lies and rock n roll and some afterschool TV chat!patreon.com/100thingsfilm ---Waxwork is a 1988 American comedy horror film written and directed by Anthony Hickox in his directorial film debut and starring Zach Galligan, Deborah Foreman, Michelle Johnson, David Warner, Dana Ashbrook, and Patrick Macnee. It is partially inspired by the 1924 German silent film Waxworks.

‘Literatura del adiós'. Rituales diversos que el ser humano adopta para sobrellevar la pérdida de un ser querido de acuerdo a su cultura, a su religión, al amor que se prodigaron, etc. es recreado en esta oportunidad por Patricia del Río, quien recoge en Letras en el tiempo los testimonios de autores y autoras, que encontraron en la literatura una forma de desahogo y alivio para despedirse del ser amado. Las voces del poeta español, Luis García Montero despidiéndose del amor de su vida, Almudena Grandes, con el poema ‘Un año y tres meses' (tomado del Youtube: Mezzoforte 111); y del argentino Hernán Casciari contando cómo es que finalmente pudo llorar a su padre (Youtube: TED en español), son estremecedores. La música utilizada en el programa, también tienen su historia en el tema del adiós. Estas son: ‘La llorona', con Natalia Lafourcade y Los Macorinos; ‘Candle in the wind', de Elton John; ‘Parte del aire', de Fito Páez con Miguel Ríos; ‘Historia de un sueño', de la Oreja de Van Gogh; ‘Death is not the end', de Bob Dylan; y ‘Time to say goodbye' con Andrea Bocelli y Sarah Brightman. En la secuencia ‘El libro de la semana', la escritora Mayte Mujica presenta su libro de relatos ‘El rincón más oscuro del cielo' (Peisa, 2022), sobre los afectos, las primeras ilusiones, las decepciones amorosas y la necesidad de recomponer el mundo interior ante eventos dolorosos. Por su parte, Julio Zavala, crítico literario y gerente de la librería Escena libre, recomienda tres libros imprescindibles: ‘El occiso', de Virginia Estenssoro (cuento); ‘Harawinchis', de Gonzalo Espino (poesía); y ‘Matalisuras', de Christian Reto (novela). Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 36 – Tercera temporada.

‘Literatura del adiós'. Rituales diversos que el ser humano adopta para sobrellevar la pérdida de un ser querido de acuerdo a su cultura, a su religión, al amor que se prodigaron, etc. es recreado en esta oportunidad por Patricia del Río, quien recoge en Letras en el tiempo los testimonios de autores y autoras, que encontraron en la literatura una forma de desahogo y alivio para despedirse del ser amado. Las voces del poeta español, Luis García Montero despidiéndose del amor de su vida, Almudena Grandes, con el poema ‘Un año y tres meses' (tomado del Youtube: Mezzoforte 111); y del argentino Hernán Casciari contando cómo es que finalmente pudo llorar a su padre (Youtube: TED en español), son estremecedores. La música utilizada en el programa, también tienen su historia en el tema del adiós. Estas son: ‘La llorona', con Natalia Lafourcade y Los Macorinos; ‘Candle in the wind', de Elton John; ‘Parte del aire', de Fito Páez con Miguel Ríos; ‘Historia de un sueño', de la Oreja de Van Gogh; ‘Death is not the end', de Bob Dylan; y ‘Time to say goodbye' con Andrea Bocelli y Sarah Brightman. En la secuencia ‘El libro de la semana', la escritora Mayte Mujica presenta su libro de relatos ‘El rincón más oscuro del cielo' (Peisa, 2022), sobre los afectos, las primeras ilusiones, las decepciones amorosas y la necesidad de recomponer el mundo interior ante eventos dolorosos. Por su parte, Julio Zavala, crítico literario y gerente de la librería Escena libre, recomienda tres libros imprescindibles: ‘El occiso', de Virginia Estenssoro (cuento); ‘Harawinchis', de Gonzalo Espino (poesía); y ‘Matalisuras', de Christian Reto (novela). Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 36 – Tercera temporada.

On today's show we sit down with my friend and fellow backline technician, Ozzie Henderson. Ozzie is a synthesizer programmer and keyboard technician who has worked with such artists as Stevie Wonder, The Gorrilaz, Sarah Brightman, and Duran Duran. We start off with talking about his early days in Hackney, then we discuss a bit about his photography and his latest endeavor, owner of Curated Frames.  instagram.com/ozziehenderson curatedframes.com

Let's dig into this beautifully haunting album including a hidden version of Moon River!   Album Links: iTunes: https://music.apple.com/us/album/la-luna/715543689   Amazon: https://www.amazon.com/music/player/albums/B0014MQR8W?ref=sr_1_2&keywords=sarah+brightman+la+luna&crid=1FMSJZLVKQ01I&sprefix=sarah+brightman+la+luna%2Caps%2C119&qid=1653809926&sr=8-2   Band Website: https://sarahbrightman.com/   HaskinCast Podcast links:   My Website: https://www.scotthaskin.com/podcast   Official Facebook page: https://www.facebook.com/profile.php?id=1210703585754449&ref=br_rs   #SarahBrightman #Dido #Beethoven #Classical #Orchastra #LasVegas #Composer #Author #AudioEngineer #Drummer #Podcast #PodcastLife #HaskincastPodcast