Podcasts about Saxophone

Jerry Martini has had a fascinating career. He helped put together Sly and the Family Stone. He's played with Prince. He's still touring with the Family Stone Band. For more information and tour dates, check out their website.

This week on the Caravan we have Members Only: A Tribute to Bobby Blue Bland. Produced by Memphis musician Rodd Bland, son of the late blues icon, the tribute is held at B. B. King's Blues Club on Beale Street during Blues Music Awards weekend. Special guests include Sugaray Rayford, Mike Ledbetter, Ashton Riker, Andy Duncanson, John Nemeth, and Tom Wurth. BSC contributor Jim Spake also returns to continue his series, “Crazy About the Saxophone” on the legendary sidemen that played rock's original lead instrument.

Barry Mare, in for CapeTalk’s Sara-Jayne Makwala King, is joined on Weekend Breakfast by saxophonist Josie McClure from Novo Duo. Weekend Breakfast with Sara-Jayne Makwala King is the weekend breakfast show on CapeTalk. This 3-hour morning programme is the perfect (and perky!) way to kickstart your weekend. Author and journalist Sara-Jayne Makwala-King spends 3 hours interviewing a variety of guests about all things cultural and entertaining. The team keeps an eye on weekend news stories, but the focus remains on relaxation and restoration. Favourites include the weekly wellness check-in on Saturdays at 7:35 am and heartfelt chats during the Sunday 9 am profile interview. Listen live on Primedia+ Saturdays and Sundays between 07:00 and 10:00 am (SA Time) to Weekend Breakfast with Sara-Jayne Makwala-King broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show, go to https://buff.ly/AgPbZi9 or find all the catch-up podcasts here https://buff.ly/j1EhEkZ Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Performance and Works used with permission from the artist and venue. Nehimah Stix Baker is one of the best young drummers working in Northeast Ohio today. Whether leading his Quintet or Trio, as he is on this program, Stix understands how to best leverage the kit to drive the sound he wants to achieve. For this performance, he enlists a couple of Northeast Ohio veterans, as Joe Lehman sits in on Piano and Steve Kortyka makes a guest appearance on Saxophone along with Bradford McGee on Bass. From June 19th, 2025 it's the Stix Trio…Live at the Bop Stop.  

Welcome to the Art Life Faith Podcast, and I’m your host, Roger Lowther. We are recording live from the JCAMM conference in downtown Tokyo with the theme of “The Beauty of Japan・The Beauty of Heaven.” It’s a week-long conference from Friday, May 22 to Wednesday, May 27, 2026, where we are talking about the arts of Japan, the beauty of Japan, and how that helps us worship God. We’ve had so many amazing guests this week, and now I have the privilege of sitting down with one of our key presenters, a band like no other I’ve ever seen in the world called IziBongo. They sing not only in the various languages of the world, but they use the various instruments of the world and the various styles and genres of the world so people can see what it looks like for the nations to praise God and how that can lead us all in praise of God. So I wanted to sit down with them and have a conversation. I’ve also asked Akira Mori to sit down with us. He is our MC for the conference, and he’s a longtime friend and partner. We got to know each other very well through the 2011 earthquake, tsunami, and nuclear disaster. He’s the pastor of Global Mission Chapel in Iwaki, Japan, not too far south of the nuclear power plants in Fukushima. And his amazing church was one of the key centers for relief work for all of Tohoku. Through the years, we’ve gotten to know each other better, and I’ve so appreciated not just his encouragement and the way he leads especially movements of prayer in Japan but the way he’s encouraged me personally and for his friendship. And so I invited him to be the MC for this conference and also to be with us for this podcast episode. So thank you, all of you, for being here. Why don’t we start with a quick introduction? Please tell me who are you and where this name IziBongo came from. It’s kind of an interesting name. Cory Sure, Izibongo is a Zulu word which means praises intoned in honor of a person. It’s a kind of praise poetry. This is a second generation of the group itself, originally called the Wycliffe World Music Band, which came from Wycliffe Bible Translators. Roger Not as catchy… Cory Yeah…, which came from Wycliffe Bible Translators. Roger Okay, so what do you do? Why did you form IziBongo? Cory Originally, the Wycliffe World Music Band was meant to be an illustrative form of the music of the world and to promote Bible translation. That was one of the hopes for the people who organized it. We would go to Christian music festivals and perform there to show how the nations would worship or do their songs. Paul I might add that originally it was an ad hoc group of students in a particular class learning about some of these principles of music and worship around the world. The leader of that class was our mentor, Tom Avery. He would gather the students and throw instruments at them and say, “Sing this and let’s play this.” And so it was just to appreciate the worship around the world. This developed out of that educational starting point to more of a worship focus and whatever it is today. Cathy Another point that Tom would make when teaching us these songs was that music is not a universal language, it’s a universal phenomenon. But different peoples have different ways of singing. We think we might understand what they’re singing about. We might make a judgment if we hear another culture’s music and say, “That’s demonic,” or, “You could not praise God with that music.” But he was teaching us that we need to understand when we go into cultures their music systems. We can’t just go in and say, “No, you have to sing it this way.” Mary And to follow up on that is the focus of outsider-insider, an outsider trying to understand from the insiders, “What does this mean to you? What is the content?” because as outsiders, we can really miss it and not understand what’s actually being expressed. So we have terms. We say etic and emic, outsider/insider perspectives, that we talk about in our courses and our learning. Roger Help us to see what this looks like a little bit more concretely. What countries, what groups are you representing, and what kinds of instruments are you playing? Paul Well, I’m playing about 3 or 4 instruments here. One is a charango from Bolivia, which I bought on the River Walk in San Antonio from a real live player. I’m also playing a Moroccan oud, which we use for other instruments as well. We don’t carry 50 instruments, we carry about 10. And I’m playing a Greek bouzouki, but I’m using that to represent music from other parts of the world as well if the instrument sounds similar to the sounds. So again, we’re approximating all these. We’re never being exactly authentic. We are just Americans. We’re not trying to pretend that we’re something else. But we love the sounds of the world and the praises that they lift up. So we want to approximate those sounds so that you will learn to appreciate their music. As for the countries that we actually sing songs from, we could give a list if you’d like. Cory We do some from South America, so there’s Brazil, Venezuela, Bolivia…Ghana, Democratic Republic of Congo… Cathy Nigeria… Cory Egypt… Paul Tunisia, Papua New Guinea, Bhutan, South Korea…We don’t have a Japanese song yet. Roger Okay, well, we’ll have to fix that. Paul Exactly! We’re working on it. Roger So tell me more about why you do this. What is your purpose in singing these different styles—using different instruments, different languages, representing different countries? Paul Well, for myself, and I think for my wife as well, we were worship leaders in a local church and trying to find the most relevant ways to help people worship in our culture. It was mostly not a mixed culture. It was mostly just a normal American church in Texas, but still we had to wrestle with contemporary versus older styles and who was there and what kind of music they liked. In the South it’s a little more Baptist hymnal kind of songs, which I wasn’t that familiar with. So you always have to learn and find out from the congregation that you’re worshiping with, what helps them express their heart, because that’s really what a worship leader is trying to do, just help the people worship from their heart. So that was where we started, and when we ran into Tom and he was doing that in the jungles of Brazil, it sounded radically different, of course. So we learned from him how to approximate that sound so that we could present it. Cathy So the first time we performed this kind of music, we thought we were just going to give people an educational experience and say, this is what your brothers and sisters sound like over in Africa, or this is what they say to God in their songs. The people that heard us in Memphis, Tennessee, on that very first trip were crying. They said, “This is a kind of worship that we’ve never experienced before.” It wasn’t necessarily something they could participate in, but it was like when you look up at the stars and go, “Wow, God, that’s amazing.” And you get a glimpse of the worship that God is preparing for himself across the world. And it does increase your love for your brothers and sisters. So we wanted to give more people that kind of understanding and that kind of love for brothers and sisters that they’ve never met, maybe an experience that would have them want to pray for those brothers and sisters. And so when we go to a mission conference, we hope, too, that it opens people’s eyes to understand that we want to encourage authentic ethnic worship and not just press our Western songs onto others. Mary I was just going to say one word, beauty. Well, I’ll say a few more words than just that. We have a colleague who decades ago said, why would God have created birds that only sing one song? And so we think about the diversity of artistic communication and think about the beauty of how we can all be different and have different artistic expression, but that it can be unified in the worship of our Creator, and to learn to appreciate that, but also know that it’s perfectly great to have those styles and songs and ways that you can sing and worship that come really from a deep place in your heart. So, we want to get into what that is in each culture to lead people to that place of beauty. Paul It makes me think also the necessity that we feel of presenting things with authentic instrumentation as much as possible and with some costuming. It’s not like we’re not trying to appropriate someone else’s culture. We’re trying to represent so that you will have a deeper appreciation of those—the beauty, not just the sound, but the beauty of those cultures in their expression of worship. Roger I’m glad you all are talking about this because that was one of my next questions is like, why is this important? You know, when I first came to Japan, the first thing that people wanted me and my wife to do is, as musicians, help with worship. And there’s basically two choices you can do. Contemporary or you can do traditional. One or the other. If you play organ and piano, well that’s traditional. If you use the guitar, well then that’s going to be contemporary. Those are the only two choices, so choose. If you go back and forth between the two, then that’s blended, a little of both. So to hear what you all do is so far outside people’s expectations of what worship can be. And that message, I feel, is especially needed in Japan. I would love Mori-Sensei to comment on that. Have you heard anything like this in Japan, this group? Mori No. That’s it. Roger And is it important then for Japan? Mori Absolutely. Japanese people like to feel safe, I guess, and don’t want to be criticized. Therefore, they try to conform to whatever is the mainstream, whether it’s a small group of 3, 4, 5 or a bigger group of 50–100. But that’s what I sense, and that’s what I find in myself from the past. So, especially when you think about the Christian church. The gospel was brought by typically Caucasian Western missionaries, and I don’t think they had any other way than to just do what they were used to. And without being intentional, I believe a kind of very clear line between Christians and non-Christian Japanese was drawn. When I was a teenager and a church member, the pastor said secular songs shouldn’t be sung, not even for yourself when you’re alone. So there was a very clear line, and I think in every church it was the same. And if you dare to play jazz or, rock was not so much in Japan in those days, then you were looked at as unspiritual, not a good Christian. So naturally, for those reasons, the Japanese ethnic or original music was separated from the church. It is still very much the same, I think. Therefore, it’s very difficult to take different styles of music and even ethnic music into the church. We don’t have any group like IziBongo. I don’t know if any other countries do either, but it is great riches brought to the church. Roger You know, when I first came to Japan, I was in language school that first year. We made friends with a clarinetist, and she was feeling turmoil about being in the church because the church told her she couldn’t play. She was a professional clarinet player, but they would not allow her to play clarinet in church because that was not appropriate for Christian worship. But, they said, you can play the piano because we need someone to play the piano. She was like, but I’m not a keyboardist and don’t play the piano very well, and it was hard for her to worship while playing the piano. When we came in, they asked us as missionaries to come give a concert, and we invited her to join us. There were tears in her eyes because that was the first time anyone in the church had ever heard her play the clarinet, which was her heart language. And I was like, wow, well, maybe it’s just this church. Well, then we went and were helping to plant another church out in Chiba, where we met a pastor whose son played the saxophone. And it was the same story. He invited his son to play saxophone once in worship, and the church members got so upset. Saxophone is not appropriate for worship, they said. It sounds worldly. It sounds like jazz, you know. And we’ve come across stories like that over and over again. And I want to tell you one more. Sorry I’m talking so much! But there’s this other story when we met this koto player. She was featured in one of our videos during the conference. I think I’ve shared this in a past podcast episode, but we invited her to come and play koto in worship. That’s a traditional Japanese harp, and it was so beautiful. We loved it, but there were so many people upset afterwards. And there were so many meetings afterwards, not the kind of meetings that you really want to have happen, you know, like with the pastor and the elders. Okay, this person’s upset, and they felt like it was connecting to the non-Christian culture in Japan. They said, “You can’t use the koto in worship. You were distracting me from worship. I was not able to worship God because you had the koto there.” And, you know, the way—I’ve shared this with some of you before—the way that we were able to bring healing to that situation is when they realized how she was able to worship God through her heart language, through the koto, it drew them in and they were able to worship God by seeing how she was worshiping God. It wasn’t a gimmick, you know, it wasn’t like we’re trying to force something on the church, but that this is how she worshiped, and they were able to worship through her. It was that relational key that made all the difference. Mori Um, can I ask you a question? Roger Sure. Mori That was your experience in the beginning. Is that still very much the same in the Japanese churches? Roger I do sometimes continue to hear stories, yeah… Mori This is my subjective, biased opinion, but around 20 years ago, God raised a young man and gave him song after song. An authentic Japanese young man, producing Japanese praise songs, worship songs, and they did some gatherings using yukatas and guitars on the stage, dancing and singing. And those worship songs created by those people, they have quite rapidly spread all across Japan. Roger Oh, wow. I’d like to hear them. Mori Yes. Oh, you know him. Taka. His songs, I believe, have changed the atmosphere of Japanese churches. Nagasawa Takafumi wrote that famous song, “Sono Hi Zen Sekai Ga” (“On That Day”). He started out as a worship leader in his father’s church. Now, he’s the senior pastor. But he was invited as a worship leader to a church in a different place, totally different place, and the pastor, as the congregation sang that song, proudly said to Taka, “Don’t you think this is an awesome song?” He didn’t know that Taka wrote that song, and Taka did not tell him. But today, more instruments are naturally taken into church services. Different styles are tolerated. Not every church, but, by and large, so many churches are resembling Western American churches, worship band in front and leading songs with guitars and drums and bass guitars and keyboard. And it’s spreading. And I just think that change has been happening. But still though, not Japanese authentic instruments or styles. Roger Yeah, that's still pretty rare. Mori Yeah, because of the schism that happened, right in the beginning, the Christians somehow feel that those instruments are not theirs. And to me, that’s okay if Christians don’t play any koto or shakuhachi. Of course, they’re greatly considered by Christians to be a special genre of instrument. Roger Generally. Yeah, Cathy? Cathy That’s one thing that seems to happen when we play. We had an experience in Singapore. A Japanese gal came up and talked to me afterwards and said, “This makes me want to go home and find what is unique from my culture that I can offer to God. It makes me want to go home and find or make something unique from my culture. And so, I think that IziBongo sometimes has that effect when we show what other cultures are doing. Roger Yeah, I also wanted to ask you all, I know that like sometimes I hear this word “appropriation” in the States, because you are not from those cultures, because you are Americans doing that music. If someone was to come at you and say, “Hey, that’s not appropriate for you to be doing that,” how would you respond to them? Paul Well, it depends who it’s coming from, I think, is where we start. We have never had anyone come to us from those nations with a problem with us. In fact, all we’ve ever heard is appreciation that we at least attempted to sing in their language. And again, we don’t do it perfectly. We had one experience up at Prairie Bible College where we played a First Nations song, a Native American song, and there was one young gentleman there who was a young man from the First Nations, and he was so excited. He wanted to sing the song. It was very simple, so he wanted to lead it. It was so amazing to him that he could do that. And almost immediately, we got strong pushback from a missionary couple who’d been there for 30 years working with First Nations peoples who felt like that was very inappropriate for the church. So let me say it this way: What we do is not try to impose on the church what you should do. What we’re doing is saying praise is happening all over the world, not always on Sunday morning. In fact, most of this wouldn’t be in Sunday morning worship, but it’s worship. Some of it’s on the streets of Brazil, a samba. And it was a Christian song sung on the streets of Carnaval. I mean, that’s not Sunday morning. So again, what we’re presenting is just the various expressions of praise. Whether they fit on Sunday morning in the church, your pastor and your worship leaders need to work that out. And we shouldn’t be judging them. They’re the ones who are to guide and guard the flock. So pray for your pastors that they might have vision even when they have reservations. Cathy I would say it’s also not only praise, but Scripture memory songs, storytelling, telling of Bible stories, and historical things. So there are other ways to use the music. Cory And the use of the music that we do when we perform are based on relationships that we have with the communities themselves, either through a Bible translation project or actual one-on-one. So, we have gotten permission to do these songs according to the communities that we’ve come in contact with. Mary And I’ll say that coming back to the U.S. from West Africa and starting to hear this word appropriation, I was a little bit shocked because I was like, oh, what does that mean? You know, I had to say, what does that actually mean? Because to be in West Africa or in that particular culture, you dress with the cloth and you learn their songs and they are thrilled that you are learning their language and wearing their clothes. So appropriation is not about using these things for our own benefit, but it’s about lifting up and respecting that culture. Roger We are almost out of time, but I want to give Mori Sensei the last word. So, think about what you’re going to say. Let me just say that I’ve been moved by talking with all of you, you know, outside this interview, the stories you’ve told me about how people respond saying, wow, I had no idea I could worship God in that way through my culture, through my art, and how it’s encouraging them, empowering them really. You are empowering the nations to say, God has given you these gifts to worship him, and it’s just such an important message. Thank you so much for the time and money you’ve spent to come all the way to Japan to share this with us. We really appreciate it. Mori Sensei, do you have any final comments? Mori Well, thank you very much. I’m so honored. Change is happening in the Japanese churches. It’s not only negative. In one church, 45 minutes away from Tokyo, they started using enka. Enka is very secular, many love songs. They were the songs church members' husbands especially loved. So they invited the husbands and did a couples' night. They served beer and they sang enka. And the people loved it. Actually, the wives loved it too. So, some changes are happening. Also, Japanese instruments—koto, shakuhachi, shamisen—are not widely used in the churches. I think that’s because nowadays Japanese people have grown up without those instruments nearby. But those who have, they should be invited to the churches to perform and make them feel at home. Still, the Japanese churches are very much under the control of pastors. So these gatherings would be excellent for the Japanese pastors to know and come attend, listen to, hear the stories. That’s probably the challenge for the near future. Roger Thank you. Thank you so much, all of you. I really appreciate it. God bless you. You've been listening to the Art Life Faith Podcast. To watch the video of this podcast or many other videos from the conference, please go to our website: www.communityarts.jp. As we say in Japan, “Ja, mata ne.” We'll see you next time.

Jerry Martini has had a fascinating career. He helped put together Sly and the Family Stone. He's played with Prince. He's still touring with the Family Stone Band. For more information and tour dates, check out their website.

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In this bonus episode of the Behind The Song podcast, Janda shares the incredible story behind how the late, great “saxophone colossus” Sonny Rollins came to record the sax solo on the Rolling Stones hit, “Waiting On A Friend.” Following the passing of the jazz legend at age 95, this awesome recording remains as proof that when talented musicians respect each other, the lines between genres can completely melt away. As Mick Jagger said: "He just blew his horn and it was beautiful."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

2026 3-STEP & SAX | DJ AND SAXOPHONE LIVE SET | THE BEST 3-STEP AFROHOUSE MIX | BLAQROSE SUPREME & AKEEM BURKE. Special Thanks To O. Chapman on the drone and Akeem Burke on the Saxophone. If You Want, Buy Me A Coffee: buymeacoffee.com/blaqrosesupreme Subscribe and Listen to the Blaqrose Supreme's Podcast HERE:

Performance and Works used with permission from the artist and venue. One of contemporary jazz's best vibraphonists, Roy Ayers passed away in May of 2025 leaving behind a legacy of recordings that would be the envy of many. Forecast has been a mainstay on the Cleveland music scene for over 30 years, selling out shows consistently and opening for acts as diverse as Grover Washington Junior, Brian Auger and Roy Ayers himself. So, it's only fitting that when the occasions called for it, they paid tribute to the master in this sold-out performance. Featuring Lem Adams on Vibraphone, Riley Richard on Saxophone, Kevin Byous on Guitar, Alphonso McDuffie on Keyboards, Gary Stevenson on Bass and John Turner on Drums and from June 14th, 2025 it's Forecast…Live at the Bop Stop.

The Jazz Session No.469 from RaidersBroadcast.com as aired in May 2026, featuring a tribute to the legendary, and recently passed, jazz saxophonist and band-leader, Sonny Rollins. TRACK LISTING: Don the Dreamer - Ken Wheeler, w. John Dankworth; Long Tall Dexter - Dexter Gordon w. his Quintet; More Than You Know - Sonny Rollins; Newk's Fadeaway - Sonny Rollins; Donkey - Jaco Pastorius, w. Metheny, Ditmas, Bley; Gears - Miroslav Vitous Group; Moritat - Sonny Rollins; St. Thomas - Sonny Rollins; Dippermouth Blues - Louis Armstrong; Kansas City Kitty - Dave Carey Jazz Band; Noise Reduction - Federica Michisanti Trioness; Dead Letter - Tohru Aizawa Quartet; When Your Lover Has Gone - Sonny Rollins Quartet; Paul's Pal - Sonny Rollins Quartet; Portal - Snarky Puppy; Footprints - Ezra Collective; Raincheck - Sonny Rollins Quartet; Paradox - Sonny Rollins Quartet; I'll Walk Alone - Charlie Parker; Crepuscule With Nellie - Thelonius Monk.

The GURU is back after a few weeks off. There has been some very hard times, but we are getting through this rough stretch. The New York Knicks will play the San Antonio Spurs after a thrilling game seven, ousting the defending World Champs, the Oklahoma City Thunder. The GURU is going with the Spurs in 7. My Vegas Golden Knights are heading back to the Stanley Cup Finals against the Carolina Hurricanes, after shocking the Colorado Avalanche in four straight. The GURU Is going with the VGK in 7. There has been several people that we had to say goodbye to, but the Saxophone genius, one of the last great jazz musicians of our time has left us. Sonny Rollins was no doubt, one of the last greats that made jazz one of the greatest art forms in music history. He was legendary in every sense of the word. When we take a look back and mention the greats, Coltrane, Miles Davis, Charlie Parker, Louis Armstrong, Duke Ellington, Dexter Gordon, Sonny Rollins has to be considered in the top tier of greats. At 95 years old, he was the last of era gone by. This episode is dedicated to him. We will be back next week with Episode 316, enjoy the rest of your Sports Weekend and be safe.

POWW Saxophone Episode 8: This episode features several bands from all over the world, which feature a saxophone on their track, some old and some new. Several recommendations included in this episode.

Sonny Rollins, a revolutionary jazz saxophonist whose career spanned decades, recently died at the age of 95. Peter Keepnews wrote about his death in the New York Times. He discusses Sonny's life and work, and suggests some tracks to listen to. Photo by Jack Vartoogian/Getty Images: American jazz musician Sonny Rollins plays tenor saxophone with his Sextet during opening night on the main stage at the Detroit Jazz Festival, Detroit, Michigan, August 31, 2012. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In light of the recent passing of jazz master Sonny Rollins, Tavis reprises his special one-on-one conversations with the “Saxophone Colossus” about his life, music and enduring legacy.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

Happy Thursday you pop culture junkies! This week, we are kicking things off with a little walk down memory lane in honor of Memorial Day—reminiscing about the good old days spent getting ready for poker at the iconic All Things D conference (which later became the Code Conference). Then, we dive straight into the meme of the moment: NBC reporter Julie Tsirkin, who went massively viral after being caught on camera asking, "What was that?" during a security incident near the White House. We break down the internet's hilarious reactions and how she flawlessly leaned into the viral fame. Plus, we look at the latest TikTok obsession—the "saxophone getting louder" trend—and trace its unexpected origins all the way back to the 1991 classic film Boyz n the Hood. Finally, we chat briefly about the current state of AI photos before obsessing over the best thing on TV right now: Netflix's The Boroughs. Think Golden Girls meets Stranger Things—trust us, you don't want to miss this!   This week's newsletter: https://popculturemondays.com/2026/05/26/what-was-that/  

The Dr. Phil LIVE! docuseries, episode one, is coming to you from Nashville, TN. You're gonna get all the favs with Jelly Roll, Tony Hinchcliffe, David Lucas, Trailer Trash Tammy (Chelcie Lynn), and a ton of wild moments with hilarious guests. Tickets for the "Who Is Me" tour and merch available at https://www.adamraycomedy.com  Tour dates!June 4th-6th - Eugene, OR June 15th & 16th - Brisbane City, AU June 17th - Sydney, NSW June 23rd & 24th - Melbourne, VIC June 24th - Melbourne, VIC June 26th - Auckland, NZ July 18th - Edmonton, AB July 19th - Winnipeg, CAN July 24th - Orlando, FL July 25th - Fort Lauderdale, FL July 26th - Tampa, FL July 31st - Aug 2nd - San Jose, CA Aug 4th - 6th - New Brunswick, NJ Dr. Phil Live! June 18th - Sydney, NSW June 20th - Brisbane, QLD June 21st - Melbourne, VIC You will also see Dr. Phil LIVE! Team doing what they do best, putting on a great show! Get ready for Norm Parker, Jack Fink, Stephen Hauser, Van Corona, and a gaggle more! The docuseries Post Production Services Provided by Mezzanine: Produced and Directed by Adam Ray Executive Producers: Ariel Kubit, Tanner Alvarez Editors: Josh Cregg, Heath Belser Assistant Editor: Evan Giguere Producers: Alex Billquist, Analis Martin Engineer: Pierce Kingston Online Editor: Jacob Fisher Colorist: Joshua Eggleston Re-Recording Mixer: Timothy Preston The original show was created by: Written and Directed by Adam Ray Adam Ray as Dr. Phil ‪@adamraycomedy‬ ‪@AboutLastNightPodcast‬ Jelly Roll as himself ‪@JellyRoll‬ Tony Hinchcliffe as himself ‪@KillTony‬ David Lucas as himself ‪@DavidLucasComedian‬ Chelcie Lynn as Trailer Trash Tammy ‪@TrailerTalesPod‬ Libbie Higgins as Crystal ‪@TrailerTalesPod‬ Jeremiah Watkins as Dave Gunther ‪@jeremiahwatkins‬ ‪@standupots‬ ‪@TrailerTalesPod‬ With the Kill Tony Band: Michael Gonzales on drums Carlos Sosa on Saxophone & Flute Fernando Castillo on Trumpet Raul Vallejo on Trombone D Madness on Bass Matt Muehling on Guitar Jon Deas on Keys Produced by Adam Ray Produced by Norman Parker Executive Producers Jack Fink and Barrett Leigh Hair and Makeup by John Davis Snyder Show Technician & Set Designer, Stephen Hauser Sound Recordist, Thomas Pell Post Audio Mix, Tim Franklin Motion Graphics, Colby Cusick Video by Isaac Chambers & Capture Digital Director of Photography & Video Producer: Jason Head Edited by Isaac Chambers & Peter Brewer Camera Operators: Jason Wain, Jack Bynum, Nathan Blaze, Logan Walcher, Brendon West, Nick Cangialosi, Zachary Appleby Colorist Peter Brewer Still Photography by Van Corona Venue Crew: Lauren Laramee, RJ Cavanaugh, Joey Galletta, Mark Falcone, Seth Williams, Alan Wieme Special Thanks to: Amanda Ray Jon Sosis Jen Aspinall Like, Subscribe, and keep coming back for more! Follow Adam Ray: Membership https://www.adamray.live Official Website: https://adamraycomedy.com/ Facebook:   / adamraycomedy   TikTok:   / adamraycomedy.  . Instagram:   / adamraycomedy   Twitter:   / adamraycomedy   YouTube: @adamraycomedy https://bit.ly/adamraycomedy Brought to you by Fun Fun Party Learn more about your ad choices. Visit megaphone.fm/adchoices

Inspired by the traditions of Loíza, Puerto Rico, and San Basilio de Palenque, Colombia, Grammy Award-winning saxophonist David Sánchez's latest album, Tambó, evokes rich Afro-Caribbean rhythms. He performs live in our studio, and talks about creating the album ahead of its live presentation at Lincoln Center.  David Sánchez's Tambo / Courtesy of the Artist Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

FULL SHOW : Glenn & Mick's Celebrity Intervention is on tonight and Hughesy is in the chair, so Kate Langbroek joins us to dish the dirt on him! CEO of Golf Australia James Sutherland talks to us about the Aussie Open, Xander McGuire is in the studio to chat AFL from the weekend, Rosie will recap Eurovision and head brewer of Brick Lane John Seltin celebrates the awards they won over the weekend. Catch Mick in the Morning, with Roo, Titus & Rosie LIVE from 6-9am weekdays on 105.1 Triple M Melbourne or via the LiSTNR app. Mick In The Morning Instagram: https://www.instagram.com/molloy Triple M Melbourne Instagram: https://www.instagram.com/triplemmelb Drop us a voice memo: https://www.mickinthemorning.comSee omnystudio.com/listener for privacy information.

https://sax1.ru/en/product/venus/ 2 versions of the song "Shocking Blue" — Venus - Sheet music and backing track for alto saxophone, tenor saxophone, violin, and flute. + Video 1) Version - Ayur Tsyrenov & Syntheticsax (Club House) 2) Version - Syntheticsax (Nudisco) https://sax1.ru/en/product/venus/ ---------------------------------- Backing track and sheet music for saxophone - Facebook - / saxscore Вконтакте - https://vk.com/sax1ru Instagrm - / russiamusic Telegram - https://t.me/saxplay Odnoklassniki - https://ok.ru/sax1ru Yandex Dzen - https://zen.yandex.ru/sax1

This week on the program we have Mellotron Variations. An instrumental project built around one of the most unique instruments ever conceived. We'll also hear from rock and roll veteran, and sideman to the stars, Hunt Sales. BSC contributor Jim Spake is back with us to continue his series, "Crazy About a Saxophone" on the legendary sidemen that played rock's original lead instrument.

Well, in this episode we dig into our Kansas City Roots.  We go to Kansas City in the 1920's where under 'Boss' Pendergast the city was a machine that kept clubs open all night and the liquor flowing.  It was a town famous for being a little naive, jazz, good barbecue and something called the Kansas City Stomp.  Kansas City had heard rumors of Prohibition and wanted no truck with it.  It was into this world that a young man named Charlie Parker, a man who would be nicknamed 'Bird' began to play an alto sax and he would get humiliated and come back stronger.  He became a good musician, and then he was in a car accident that broke his ribs and twisted his spine.  He was given morphine for the pain and this would start a second addiction, the first was to music.  He studied and practiced all he could in recovery and when he emerged he was a different player, he took the town by storm and he would go on to become one of the greats of Jazz and he'd become a big part of a muisc called bebop.  So come listen to a local tale of Kansas City and learn how a man became a myth and musical legend in this magical, mythical and musical episode of the Family Plot PodcastBecome a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

Today, we're putting The Tonearm's needle on Caroline Davis, a saxophonist and composer based in New York.Her new album, Fallows, just came out on Ropeadope Records. Caroline made it alone during a residency in Ucross, Wyoming - improvising and recording in a cabin, using prepared saxophone techniques and a unique little instrument called an Organelle to process and build sounds she'd never put to tape before. The result is twelve tracks that use the saxophone as raw material rather than a lead voice.We talk about how that music got made, what it means to deliberately avoid the sound of your own instrument, and Caroline's work teaching music inside Sing Sing prison.(The musical excerpts heard in the interview are from Caroline Davis's album Fallows )—Dig DeeperArtist and AlbumVisit Caroline Davis at carolinedavis.orgPurchase Caroline Davis's Fallows from Ropeadope Records, Bandcamp, or Qobuz, and listen on your streaming platform of choiceLabel and ResidencyRopeadope RecordsUcross Foundation — the Wyoming artist residency where Fallows was recordedCivitella Ranieri Foundation — the Italian residency Caroline attended in 2025Tulu Bayar — Turkish artist who made the paper artwork for Fallows (please verify link)Instruments and TechnologyThe Organelle — Critter & Guitari — the hardware synthesizer/processor central to FallowsORAC by Technobear — Patchstorage — the community-built patch framework Caroline used on the recordCollaborators, Influences, and ReferencesSteve Lacy — soprano saxophonist (1934–2004), honored in the track "Lacy Steve"Geri Allen — pianist and mentor; "Barbara Allen (for Geri)" closes the albumThích Nhất Hạnh — Vietnamese Buddhist monk; a sample of his voice appears on "She Know She Is Water"Connie Crothers — pianist from the Lennie Tristano lineage; a sample of her playing appears on "Cloudburst"Lee Konitz — Caroline's teacher; alto saxophonist (1927–2020)Sam Newsome — soprano saxophonist; prepared saxophone pioneer cited by Caroline as a major influenceChristine Abdelnour — French experimental alto saxophonist; a formative reference for prepared saxophone techniqueAnna Webber — saxophonist and composer, cited for her work with venting vocabularyJames Falzone — clarinetist whose solo tour performance is discussed in the episodeKris Davis — pianist and founder of Pyroclastic Records; cited as a touchstone for prepared pianoSylvie Courvoisier — pianist cited for her prepared piano work (please verify link)Qasim Naqvi — New York-based composer and modular synthesist; a frequent collaboratorLabels and Organizations — Current ListeningOut of Your Head Records — Adam Hopkins's artist-run label; praised in the episodePyroclastic Records — Kris Davis's artist-run label; praised in the episodeAdvocacy and JusticeMusicambia — the organization through which Caroline teaches music at Sing Sing Prison and other facilitiesFREER Records — nonprofit label for incarcerated and formerly incarcerated musicians; Caroline is on the boardKeith LaMar — keithlamar.org — death row prisoner in Ohio whose execution is scheduled for January 13, 2027; wrongfully convicted per advocatesJalil Muntaqim — political prisoner (Black Panther Party) with whom Caroline corresponded; released from prison in 2020The New School — Jazz & Gender course — co-taught by Caroline Davis and Sarah Elizabeth Charles—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Caroline Davis, a saxophonist and composer based in New York.Her new album, Fallows, just came out on Ropeadope Records. Caroline made it alone during a residency in Ucross, Wyoming - improvising and recording in a cabin, using prepared saxophone techniques and a unique little instrument called an Organelle to process and build sounds she'd never put to tape before. The result is twelve tracks that use the saxophone as raw material rather than a lead voice.We talk about how that music got made, what it means to deliberately avoid the sound of your own instrument, and Caroline's work teaching music inside Sing Sing prison.(The musical excerpts heard in the interview are from Caroline Davis's album Fallows )—Dig DeeperArtist and AlbumVisit Caroline Davis at carolinedavis.orgPurchase Caroline Davis's Fallows from Ropeadope Records, Bandcamp, or Qobuz, and listen on your streaming platform of choiceLabel and ResidencyRopeadope RecordsUcross Foundation — the Wyoming artist residency where Fallows was recordedCivitella Ranieri Foundation — the Italian residency Caroline attended in 2025Tulu Bayar — Turkish artist who made the paper artwork for Fallows (please verify link)Instruments and TechnologyThe Organelle — Critter & Guitari — the hardware synthesizer/processor central to FallowsORAC by Technobear — Patchstorage — the community-built patch framework Caroline used on the recordCollaborators, Influences, and ReferencesSteve Lacy — soprano saxophonist (1934–2004), honored in the track "Lacy Steve"Geri Allen — pianist and mentor; "Barbara Allen (for Geri)" closes the albumThích Nhất Hạnh — Vietnamese Buddhist monk; a sample of his voice appears on "She Know She Is Water"Connie Crothers — pianist from the Lennie Tristano lineage; a sample of her playing appears on "Cloudburst"Lee Konitz — Caroline's teacher; alto saxophonist (1927–2020)Sam Newsome — soprano saxophonist; prepared saxophone pioneer cited by Caroline as a major influenceChristine Abdelnour — French experimental alto saxophonist; a formative reference for prepared saxophone techniqueAnna Webber — saxophonist and composer, cited for her work with venting vocabularyJames Falzone — clarinetist whose solo tour performance is discussed in the episodeKris Davis — pianist and founder of Pyroclastic Records; cited as a touchstone for prepared pianoSylvie Courvoisier — pianist cited for her prepared piano work (please verify link)Qasim Naqvi — New York-based composer and modular synthesist; a frequent collaboratorLabels and Organizations — Current ListeningOut of Your Head Records — Adam Hopkins's artist-run label; praised in the episodePyroclastic Records — Kris Davis's artist-run label; praised in the episodeAdvocacy and JusticeMusicambia — the organization through which Caroline teaches music at Sing Sing Prison and other facilitiesFREER Records — nonprofit label for incarcerated and formerly incarcerated musicians; Caroline is on the boardKeith LaMar — keithlamar.org — death row prisoner in Ohio whose execution is scheduled for January 13, 2027; wrongfully convicted per advocatesJalil Muntaqim — political prisoner (Black Panther Party) with whom Caroline corresponded; released from prison in 2020The New School — Jazz & Gender course — co-taught by Caroline Davis and Sarah Elizabeth Charles—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Episode 104: Kamasi Washington Kamasi Washington is one of the most important voices in modern jazz. A saxophonist, composer, and bandleader from Los Angeles, he has helped shape the sound of contemporary music through his solo work and collaborations with artists like Kendrick Lamar, Thundercat, Dinner Party, Flying Lotus, Andre 3000, Terrace Martin, and Robert Glasper. In this episode of Go With Elmo, Kamasi sits down for a deep conversation about his journey, from growing up in Los Angeles with the greatest young talents all around him to becoming a central figure in a global movement of jazz, hip-hop, and beyond. The LA music scene, the importance of community, and the foundation of the West Coast Get Down collective all come into focus. Kamasi breaks down the West Coast Get Down and the musicians involved, including Thundercat, Ronald Bruner Jr., Cameron Graves, Brandon Coleman, Ryan Porter, Patrice Quinn, Miles Mosley, and Tony Austin, and how that group helped define a new sound coming out of Los Angeles. Kamasi explains why he often performs with multiple drummers and multiple bassists, how he builds such powerful live ensembles, and what it takes to lead large groups of musicians on stage and in the studio. The conversation dives into Kamasi's work on Kendrick Lamar's To Pimp a Butterfly, the creative energy of those sessions, how he got the call for the Kendrick gig from Terrace, and their continued connection over time. More recent collaborations like “Luther” and “TV Off” are discussed, along with Kendrick referencing him by name in the lyric “keep a horn on me, that Kamasi,” a moment that reflects his influence across genres. Making his landmark albums The Epic, Heaven and Earth, and Harmony of Difference are explored, along with his approach to jazz saxophone, composition, improvisation, and bandleading. His broader work as a composer, including Becoming and Lazarus, adds to the scope of his career and creative output. The conversation goes deep into music philosophy, creativity, and meaning, including Kamasi's belief that music is bigger than genre and can communicate ideas beyond words. Fatherhood, inspiration, and the evolution of his perspective all play a role in shaping his current work. This is a wide-ranging talk about music, culture, leadership, and the journey of becoming one of the defining artists of this generation. I hope you enjoy watching my hang with the great, Kamasi Washington! Big thanks to our friends Ace Studio for supporting the show. Check them out! https://acestudio.ai/ Another huge thanks to our friends at DistroKid! DistroKid is the easiest and fastest way to get your music on over 150 platforms worldwide! Go to https://distrokid.com/vip/elmo to get 20% off your first year! Become a Patreon Member to stay in the loop as we post Patreon-only exclusive content, Zoom hangs, invite only events, and discussions about music and music careers. https://www.patreon.com/gowithelmo  Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated! Listen to the audio form of this podcast wherever you get your podcasts: https://elmolovano.komi.io/ Follow Kamasi: https://www.instagram.com/kamasiwashington/ Follow Go With Elmo: https://www.instagram.com/gowithelmo/ https://www.tiktok.com/@gowithelmo https://x.com/gowithelmopod Follow Elmo Lovano: https://Instagram.com/elmolovano https://x.com/elmolovano Follow Jammcard: https://www.youtube.com/@jammcard https://www.instagram.com/jammcard/ jammcard.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica talks with Christof Zürn: Strategy Facilitator, Music Thinker, and Improviser.Christof uses the dynamics of music to help leaders orchestrate innovation and turn complexity into clarity. A joiner by trade with an MA in Musicology, he combines the precision of craftsmanship with the fluidity of strategic thinking to unlock momentum in teams. In the 90s, he pioneered digital music interaction, interviewing legends like Daniel Barenboim and B.B. King. Today, he channels that diverse experience into guiding leadership programs and workshops for global clients. Alongside his consulting practice, he lectures in Creative Business at Utrecht University of Applied Sciences, and he performs with the improvising collective Raum-Musik für Saxophone, as well as with other ensembles. He is the author of the book The Power of Music Thinking and host of the podcast of the same name.Find Christof's work at musicthinking.com.~About The Ampersand Manifesto:What happens when you refuse to choose just one path? On The Ampersand Manifesto, host Jessica Wan sits down with “the most interesting people at the dinner party” – those who have made their mark in two or more seemingly different worlds. Through candid conversations, we explore what it takes to navigate multiple callings, find the connection points between them, and redefine success on our own terms. Together, we're co-creating The Ampersand Manifesto: principles for leading a multi-passionate life.~About your host, Jessica Wan:Executive Coach | Classical Singer | Former Marketing Leader & Tech ExecutiveJessica helps founders and leaders make the invisible visible. With 20+ years of experience scaling brands like Apple, Smule, and the San Francisco Opera, and as an ICF-certified executive coach, she provides the clarity and strategy needed to lead bravely and find fulfillment in a multi-passionate life.Work with Jessica: Book a Free Intro CallJoin The Cohort: An Ampersand Community for Dual-Career ProfessionalsFollow the Journey: @ampersandmanifestoConnect: Jessica's LinkedInListen: Singing Excerpts~CreditsCo-produced and hosted by ⁠Jessica Wan⁠Co-produced, edited, sound design, and original music by ⁠Carlos Schmitt

Send us Fan MailEpisode 017 In this episode, Alistair Parnell and Matt Traum take a deeper dive into the new Roland Aerophone Brisa, following the huge response to the previous episode. They explore what makes the Brisa unique, how it fits into the growing world of wind synthesizers, and who it's really for.Along the way, they chat about new developments in the wind synth space, share practical insights on setup, control, and connectivity, and highlight both the strengths and limitations of the instrument. You'll also hear a range of sound demos and creative ideas, including ways to get more expressive, organic results from the Brisa.Whether you're a beginner or an experienced wind synth player, this episode is packed with useful insights, honest opinions, and plenty of inspiration.So make sure you subscribe to the podcast. And while you're at it, why not check out www.isax.academy and www.patchmanmusic.com.  If you are enjoying this Aerophone Academy podcast, please consider visiting www.patchmanmusic.com for your next wind controller-related purchase.If you'd like to send us a question for an upcoming episode, please email us at info@aerophoneacademy.comOr leave us a voice message that we can include in the podcast here.For more information about Matt, visit www.patchmanmusic.comFor great Aerophone courses, visit www.isax.academy

This week, Ryan and Brian receive information about nuclear fusion, non-placental reproduction, and Högertrafikomläggningen, and yet feel they've actually learned nothing. (Cover art this week is by John Froehlich, and it's pretty cool.) If you get bored (how could you?!), write something for the Fill Me In wiki. And if you're feeling philanthropic, donate to our Patreon. Do you enjoy our show? Actually, it doesn't matter! Please consider leaving us a 5-star review on Apple Podcasts. This will help new listeners find our show, and you'll be inducted into the Quintuple Decker Turkey Club. Drop us a note or a DM or a postcard or a phone call — we'd love to hear from you. Helpful links: Apple Podcasts link: https://podcasts.apple.com/us/podcast/fill-me-in/id1364379980 Amazon/Audible link: https://www.amazon.com/item_name/dp/B08JJRM927 RSS feed: http://bemoresmarter.libsyn.com/rss Contact us: Email (fmi@bemoresmarter.com) / Facebook / Instagram / Bluesky

NOT A BARBIE! Saxophone superstar, emo touring fanatic and certified music nerd, Gabi Rose, is our guest on Episode 387 of Sappenin' Podcast! The Bilmuri wonder-woman unleashes exclusive confessions behind her role within one of the worlds most talked about bands, making a saxy stamp on the scene and starting her new solo project Enrose. In this conversation, Gabi opens up on her unique journey within the alternative community playing a woodwind instrument, why Bilmuri has no rules, cranking hogs vs character moments, weird sax misconceptions, how gross it is to clean, cool-kid imposter syndrome, viral TikTok covers, how she ended up recording on Sleep Token's chart hit 'Emergence', playing sold-out arenas with Bad Omens and toured the globe as part of The Jonas Brothers band, individual backstage secrets, dance party shenanigans, unexpected internet nicknames, passionate rants, pop-punk mosh stories, unpredictable questions and more! Turn it up and join Sean and Morgan to find out Sappenin' this week!Follow us on Social Media:Twitter: @sappeninpodInstagram: @sappeninpodSpecial thank you to our Sappenin' Podcast Patreons:Join the Sappenin' Podcast Community: Patreon.com/Sappenin.Kylie Wheeler, Janelle Caston, Paul Hirschfield, Tony Michael, Scarlet Charlton, Dilly Grimwood, Mitch Perry, Jonathan Gutierrez, Jahana, Marc Spector, Molly Molloy, James Bowerbank, Amee Louise, Kat Bessant, Amy Hogg, Chris Howard, Ian Gent, Jenni Robinson, Stuart McNaught, Jenni Munster, Keighley Mepham, Carl Pendlebury, Matt Roberts, Louis Cook, James Mcnaught, Martina McManus, Jason Heredia, Danny Eaton, Ollie Amesbury, Dan Peregreen, Emily Perry, Kalila Keane, Adam Parslow, Josh Crisp, Sofija Žuravska, Steve Howard, Connor Lewins, Kyle Smith, Em Evans Roberts, George Evans, Sinead O'Halloran, Kael braham, Jordan Harris, Georgie Hopkinson, John Wilson, Ayla Shelly, Kelly Young, David Winchurch, Justine Baddeley, Scott Evans, Andrew Simpson, Shaun Croucher, Grazyna McGroarty, Murray Grimwood, Joshua Ehrensperger-Lewis, Chris Harris, Erin Howard, Lucy Neill, Robert Fitton, Jessie Hellier, Robert Pike, Craig Harris, Anthony Matthews, Owen Davies, JessieGx, Samantha Bowen, Ruby Price, Lewis Sluman, Kieran Lewis, Samantha Neville, Evan, Andy, Michael Long, Natalie Wallace, Frances, Emma Musgrave, Ria Joy, Patrick Floyd, Sarah Maher, Ceris Clift, Hannah, Hayley Taylor, Gareth Desmond, Cheri, Loz, Jamie Snailham, Gemma Graham, Torky, Billy Parmiter, Meg, Eva B, Jack Wright, Emma Barber, Lloyd Pinder, Helen Macbeth, Katie Lyons, Dan Johnson, Mustard Mittthat, Ceri Craddock, Madeleine Inez, Robert Byrne, Christopher Goldring, Lesley Dargie-Walker. Beth Gayler, Chris Lincoln, Hannah Rachael, Kerry Beckett, Naomi Falgate, Leanne Gerrard, Ieuan Wheeler, Tom Hylands, Andrew Keech, Nuala Clark.Diolch and Thank You x Hosted on Acast. See acast.com/privacy for more information.

This week we learn how a rejected Belgian inventor's obsession with creating new instruments eventually led to the creation of one of the great American art forms. A listener email explains how bikes were used to smuggle drugs in the Netherlands.Episode Tabs:It was banned by the Nazis, Stalin and the Vatican. This is the surprising history of the saxophonehttps://www.abc.net.au/news/2020-02-25/saxophone-history-of-musical-instrument-brutal-and-beautiful/11960922Listener Tabs:CONTRABAND AND SMUGGLERS' OBJECTShttps://www.bdmuseum.nl/en/collectie/smokkelobjecten/Email your closed tab submissions to: 500opentabs@gmail.comSupport us on Patreon: https://www.patreon.com/500OpenTabs500 Open Tabs Wiki: https://500-open-tabs.fandom.com/wiki/500_Open_Tabs_Wiki500 Open Roads (Google Maps episode guide): https://maps.app.goo.gl/Tg9g2HcUaFAzXGbw7Continue the conversation by joining us on Discord! https://discord.gg/8px5RJHk7aGet 40% off an annual subscription to Nebula by going to nebula.tv/500opentabsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Backing track & Sheet Music for Saxophone alto, tenor, violin, flute - https://sax1.ru/en/product/les-parapluies-de-sherbourg/ музыка из кинофильма Шербурские зонтики саксофонист Syntheticsax Ноты для саксофона альт - https://sax1.ru/product/les-parapluies-de-sherbourg/ Les Parapluies De Sherbourg Plot of "The Umbrellas of Cherbourg" (1964, dir. Jacques Demy): Geneviève, a young shop assistant in her mother's umbrella store in Cherbourg, is deeply in love with Guy, a garage mechanic. Guy is drafted to fight in the Algerian War for two years. Shortly after he leaves, Geneviève discovers she is pregnant. Her letters to Guy go unanswered. Pressured by her mother and feeling abandoned, she reluctantly accepts a marriage proposal from Roland Cassard, a wealthy, kind-hearted jeweler. When Guy returns, he is heartbroken to learn Geneviève has married and left. He sinks into despair but eventually finds purpose, marries another woman (Madeleine), and takes over a gas station. Years later, on a snowy Christmas Eve, Geneviève arrives at Guy's gas station with their daughter, Françoise. They exchange quiet, painful pleasantries, and Geneviève drives away. The entire film is sung-through, with no spoken dialogue. Love, separation, teenage pregnancy, waiting, broken letters, marriage of convenience, regret, passing time, chance encounter, pastel colors, tragic realism, opera on film, Michel Legrand's score, lost innocence, bittersweet ending. ------------------------------------ Сюжет фильма «Шербурские зонтики» (1964, реж. Жак Деми): Молодая продавщица зонтиков Женевьева и автомеханик Ги безумно влюблены. Ги должен уйти в армию на два года. Женевьева узнаёт, что беременна. После отъезда любимого она получает от него редкие письма, а затем — ни одной весточки. Одинокую девушку настойчиво сватает богатый ювелир Ролан Кассар. Отчаявшись и под давлением матери, Женевьева выходит за него замуж. Вернувшийся Ги, разбитый горем, заводит семью с другой. Спустя годы зимой на заправке случайно встречаются Женевьева с дочерью (от Ги) и Ги с сыном. Они обмениваются парой скупых фраз и расходятся навсегда. Всё действие пропето от начала до конца. Любовь, разлука, выбор, беременность, ожидание, письма, отчаяние, замужество по расчету, потерянное счастье, встреча через годы, судьба, провинция, зонтики, дождь, яркие цвета на фоне грусти, мелодрама, вся музыка Мишеля Леграна, трагическая случайность, взросление, материнский эгоизм, несовпадение жизненных ритмов, память сердца. Yandex Music - https://music.yandex.ru/artist/707065 Follow me Instagram - http://instagram.com/syntheticsax -------------------------- Follow me Tik-Tok - https://vm.tiktok.com/ZSJRYb6em/ --------------------------- Follow me Telegram - https://t.me/sax1ru --------------------------- Follow me Spotify - https://open.spotify.com/artist/05hm1QdbuSVF4WdgzA0tFJ -------------------------- Follow me iTunes - https://music.apple.com/ru/artist/syntheticsax/419238578?l=en ---------------------------- Follow me Facebook - https://facebook.com/russiamusic ---------------------------- Follow me Soundcloud - https://soundcloud.com/syntheticsax --------------------------- Follow me PromoDj - https://promodj.com/syntheticsax -------------------------- Follow me VK - http://vk.com/saxophonist -------------------------- Deezer - https://www.deezer.com/artist/1524691

Music – Muzyka   "Muzyka" means "music," and in this micro-lesson you'll say it like you're front row at a Warsaw concert with your favorite playlist on repeat.   First you hear the word at native speed, then slowed down so you can master the soft "mu" and the flowing "zyka." We drop it into three earworm-ready sentences:   – "Kocham muzykę." (I love music.) – "To moja playlista." (This is my playlist.) – "Gram na gitarze." (I play guitar.)   Repeat-along track included—perfect while you queue Spotify, tune your instrument, or discover your next favorite Polish artist.   Challenge: Tell us in the comments what music YOU love and if you play any instruments—reply in Polish for bonus points.   What we Discussed: 0:00 Welcome & QR Code 0:45 "Muzyka" - The Polish Word for Music 1:30 Promoting Your Music 2:30 Music Problems & Solutions 3:30 Electronic & Digital Music 4:30 Instruments: Violin & Techno 5:30 Music Theory: Keys & Modes 6:30 Music Structure & Measures 7:30 Playlists & Spotify 8:30 Shazam & Music Discovery 9:30 Sharing Music 10:30 Music Mentorship 11:30 Home Studio Setup 12:30 Albums & Collections 13:30 Bonus Tracks & Extras 14:30 Testing Your Sound 15:30 Audio Engineering 16:30 Music Collaboration 17:30 Music Business & Customers 18:30 Music Journalism 19:30 Live Festivals 20:30 Techno & Electronic 21:30 Saxophone & Instruments 22:30 Music Rights & Consent 23:30 Music Journeys 24:30 Classical & Opera 25:30 Music Libraries 26:30 Family & Music 27:30 Spotify & Streaming 28:30 Clubs & Nightlife 29:30 Gaming Music 30:30 Record Stores 31:30 Active Listening 32:30 Musical Destiny 33:30 Gear: Amplifiers 34:30 Music Organization 35:30 Universal Music 36:30 Guitar Feature 37:30 Musical Talent 38:30 Your Turn to Practice

Text us about this show.Ace Champion is one driven man. Whether it be in his music, being a chef, doing voiceover work, teaching, or one of his other ventures, there's no stopping him. As a musician, he has a deep passion for ancient music and playing the instruments that are connected to it. Whether it be one of over sixty different wind instruments (mostly a variety of flutes), a variety of ancient percussive instruments, and simply using his own voice, Ace brings ancient rhythms, melodies, and harmonies into today's world with soul and passion. Mix it up with his cajun specialties and you have the makings of one unique and special experience.Both songs on this podcast used with the permission of Ace Champion."Calm Waters" written and performed by Ace Champion© 2026 Ace Champion."Evening Hymn" written and performed by Ace Champion© 2025 Ace Champion.Melody Audiology LLCAudiology services for all. Specializing in music industry professionals and hearing conservation.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showVisit Into The Music at https://intothemusicpodcast.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.comYouTubeFacebookInstagramINTO THE MUSIC is a production of Project X Productions.Host/producer: Rob MarnochaVoiceovers: Brad BordiniRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie Angel of Los StraitjacketsThis podcast copyright ©2026 by Project X Productions. All rights reserved....

Andy McNamara is joined by Kev, Luke, Caleb, and Devin of the Wisconsin-based band Offend Your Friends. After two decades, the band is celebrating a major milestone with the release of a full-length album, aptly titled Almost Didn't Make It. In this deep dive, the members share the fascinating story of their 20-year journey, from their early days as a skateboard crew in Fond du Lac to their latest recording sessions in Tulsa, Oklahoma. In this interview, we discuss:- The Band's Origins: How a neighborhood skateboard crew and a "party band" with a pink Mohawk evolved into Offend Your Friends.- The "Stock Wars": The legendary story of being blacklisted from their high school's "Goodstock" festival and starting their own massive counter-event, "Badstock," which drew over 500 people.- The Lost Album: The heartbreaking (and slightly hilarious) story of how their recorded tracks were stolen from a driveway in Milwaukee, leading to a "year-long depression" before they eventually re-recorded everything.- New Music & Sound: Transitioning from their early ska influences to a heavier, high-energy sound filled with gang vocals and "Fake Work Friday" anthems.- Friendship & Brotherhood: Why the band never truly broke up, despite multiple "air quote" breakups and members moving across the country.Support the Band:Website: offendyourfriends.comBandcamp: offendyourfriends.bandcamp.com0:00 Introduction – Fox Cities Core Radio0:27 Welcoming Offend Your Friends to the Studio1:08 How Does It Feel to Finally Release an Album?1:45 Band Origin Story – Fond du Lac, Wisconsin2:21 How the Members All Met3:19 The Party Van & Luke's Iconic First Impression4:11 How Wes Accidentally Became the Drummer5:07 Caleb Joins & the Saxophone Decision5:29 The Fond du Lac Scene in the Early 2000s6:41 Renting Banquet Halls & Building a Local Scene7:33 What Got Kevin Into Music8:40 Kevin's Singing Origins9:16 The Loot – Their Short-Lived Hip Hop Project9:50 Adding the Saxophone & Finding Their Sound10:57 Early Recordings & First EPs11:02 The "Indecisive" EP Era26:23 Recording "Almost Didn't Make It" – The Vision27:03 Gang Vocals & Recording the Album Twice27:35 Kevin Records Vocals in Oakland During Covid28:28 The Stolen Laptop Disaster29:14 Year-Long Depression & Regrouping29:57 Re-Recording Vocals in Tulsa at Gene Pump Studios30:37 Two New Songs Written After the Laptop Was Stolen31:22 Adding "Olive Branch" as the 12th Song31:50 Total Recording Timeline – How Many Years?32:21 Why They Tracked Drums Last33:04 Mixing with Colton Jin33:50 Mastering with Justin Perkins35:17 Any Regrets? Listening Back to the Album36:00 Hidden Layers – Acoustic Guitar, Horn, Double Bass36:50 The Censored Swear Words on the CD51:08 Plans to Keep Going After the Album Release51:43 Bigger Shows & Festival Ambitions (Summerfest, The Fest)52:00 Easter Eggs on the Album Cover & Hometown References53:05 Shoutout to Jinxed and the Fond du Lac Roots53:21 Upcoming Radio Appearances & Promotion54:24 The Falsetto in "Killer Acid" – Where It Came From55:21 Favorite Songs on the Album57:24 How Danny Wolf Joined as Drummer (via Cock Tutor on Myspace)57:32 Favorite Songs – Final Round59:01 Where to Find Offend Your Friends1:00:00 Thank You & Show Info – Passenger Lounge March 28th

2026 marque le centenaire de Momo Wandel Soumah. Le chanteur et musicien disparu en 2003 était une figure de la musique guinéenne et l'un des plus grands saxophonistes d'Afrique. Sa carrière commence durant la période coloniale, dans des orchestres comme La Joviale Symphonie ou La Douce Parisette. Il connaît le succès sous Sékou Touré (1958-1984), période d'intense promotion de la musique traditionnelle guinéenne, et explose véritablement en entamant une carrière solo dans les années 1990. Avec ce reportage, on se plonge dans les années 1970 avec la chanson « Miri Magnin », de l'orchestre Keletigui et ses Tambourinis. Momo Wandel est au saxo. De notre correspondant à Conakry, Momo Wandel avait su allier différents styles de musique pour créer le sien. C'est pour cela que Justin Morel Junior, journaliste et auteur de plusieurs livres sur la musique guinéenne, l'a admiré : « Il a été beaucoup influencé par de grands jazzmen, notamment Charlie Parker, qu'on appelait The Bird. Il a été aussi influencé par des musiciens traditionnels guinéens. Son style était donc un mélange de ses connaissances musicales guinéennes et de ses recherches personnelles sur le plan international. Donc il avait été influencé au chant par le style de Louis Armstrong, cette façon gutturale de chanter, cette façon de se lâcher, d'improviser, c'était autant de choses qui lui étaient propres. » Jean-Baptiste Williams, lui aussi journaliste culturel et musicien, se souvient surtout de Momo Wandel sur scène : « Il bouge beaucoup ! Momo Wandel bouge beaucoup ! C'était vraiment un one man show. Vous savez généralement dans la structure des premiers orchestres africains, dont ceux guinéens, on met un ou deux chanteurs à l'avant. Les souffleurs, les ventistes sont à côté à gauche, les guitaristes au centre, mais derrière les chanteurs et ils sont toujours au second plan. Mais Momo Wandel ne tient pas tranquille ! Quand il commence son solo, à l'époque il n'y avait pas les micro-cravates et autres, mais Momo Wandel, ce n'est pas son problème ! Il bouge avec son soprano, sa clarinette ou son saxo alto. » « Je l'ai appelé "Sax Soleil", en référence à Louis XIV, le roi Soleil » C'est son solo de saxophone qu'on entend. Un jeu unique qui a poussé Justin Morel à le surnommer le « Sax Soleil » : « Pour moi, Momo Wandel, dans sa créativité, dans son génie artistique, rayonnait sur la musique guinéenne entièrement, et c'est pour cela que je l'ai appelé "Sax Soleil", cet instrument brillant, qui est doré en général, et pour lequel j'ai beaucoup de respect, et qu'il jouait avec beaucoup de prestance. Donc je l'ai appelé "Sax Soleil", comme d'autres avaient appelé Louis XIV, le roi Soleil. » Le centenaire de Momo Wandel sera en octobre. Nos deux spécialistes de la musique guinéenne espèrent que l'hommage sera à la hauteur de l'artiste. À lire aussiQueen Rima: «Je rêve de voir la musique guinéenne voyager encore plus loin dans le monde»

Jason Collins/Umbrellabird in conversation with David Eastaugh https://www.youtube.com/watch?v=Y5uCjjeIi68 The Roots of the Seers lie in two places; Bristol (obviously) and Billericay (not so obviously). Leigh Wildman grew up in Billericay and it was there he met Jason Collins, a guitarist from nearby Brentwood. They had spent some time in bands around the Essex region and they, along with a few friends, had decided to up sticks and try somewhere else. At the suggestion of one of their number, Bristol was decided upon, and a mini Essex invasion took place in the summer of 1984. Adrian Blackmore, or Age, as he was known, had been in the second wave of Bristol's punk scene, too young to be in bands like the Cortinas, but old enough to be won over by punk's energy. He picked up the drums quickly and formed Lunatic Fringe with fellow Bristol Punk stalwarts Bear Hackenbush and John Finch. The Bristol punk scene in 1984 was a more cider fuelled version of what Crass was peddling, with a very much Do it yourself vibe. Bands squatted venues like the old Beetle Centre on Stokes Croft and encouraged the squatting of disused houses, which many lived in. It was in one of these squatted houses, Turdy Way, named for the amount of dog shit in the house when it was first squatted, that the Essex invasion landed. After a single and some tracks on a few compilation albums, Age had left Lunatic Fringe (very amicably) and started jamming with Leigh and another of the Essex invasion, Marc Hymas, in a loose knit band called Death Machine. Influenced by T-Rex and Hawkwind, they played a few gigs at the Demolition Ballroom (the name given to the squatted Beetle Centre). After a while, Marc decided he wanted to do something else and played Saxophone with Pigbag sound-a-likes Animal Magic. Leigh and Age decided they liked playing together and enlisted Jason on bass guitar and vocals. Getting more focused, and deciding to add some shared influences in the form of 60's Garage bands they enrolled a singer, Dean Strange, with Jason providing backing vocals.  

in this re-recorded episode, Elf Lord sets off on a journey and we wish to follow him so we don't have to endure the Jun-pyo x Jan-di absurdities. diet Elf Lord simply doesn't cut it. instead we get to witness miraculous woodwind weirdness and the fourth ugliest dress you've ever seen. meanwhile, Jongho continues to be Right About Everything as we revisit his BOF x ATEEZ fancast choices. (content warning: bullying, attempted/suspected sexual assault)if you have questions or suggestions for the podcast, you can email us at oldauntiny@gmail.com

Performance and Works used with permission from the artist and venue. Northeast Ohio based guitarist Tim Mirth specializes in adventurous and diverse compositions that speak to a desire to create, explore and bring energy to the world, whether he is performing with Night Terrors, Stellar Regions or leading his own touring trio. Saxophonist Justin Tibbs specializes in straight ahead power jazz designed to bring both noise and funk in both his own JT's Electrik Blackout and as a member of the Acid Cats. This performance features the best of the two as both players combine to produce a sound that is both progressive and accessible. Featuring Tim Mirth on Guitar, Justin Tibbs on Saxophone, Bryan Thomas on Bass and Tony Kazel on Drums, and from a July 27th, 2025 performance, it's the Tim Mirth Quartet, Featuring Justin Tibbs…Live at the Bop Stop.

Dominick Critelli was born in Italy and came to the United States as a child. He was 20 years old when the Japanese attacked Pearl Harbor and launched the U.S. into World War II. Critelli became an airplane mechanic as part of the U.S. Army's 95th infantry Division. In this edition of Veterans Chronicles, Critelli tells us what the toughest part of basic training was for him and how his sergeant handled his complaint. He also shares what it was like arriving at Utah Beach not long after D-Day operations and the moment of engineering inspiration that took place that day and likely saved many lives.Critelli then details his role at the Battle of the Bulge, including how he flew over American soldiers, who were surrounded by the Germans, and dropped ammunition, weapons, food, and other supplies to help them hold those positions.Finally, Critelli, who is 104 years old, shares his secrets to longevity and his long love of playing the saxophone. He recently played the national anthem on his soprano sax at a National Hockey League game.

Temporada de Huracanes de Fernanda Melchor (2017) es una novela que nos cuenta la historia de un asesinato, el pueblo en el que ha ocurrido y las personas que lo habitan. En La Matosa, Veracruz, un grupo de niños ha encontrado un cadáver flotando en un canal. Es el cuerpo de la Bruja, una mujer que vivía aislada y cuya muerte revelará el lado oscuro de este pequeño pueblo. ¡Escucha el análisis de este libro en este episodio del podcast! Contacto www.alaaventura.net/contacto jboscomendoza@gmail.com www.facebook.com/alaaventurapodcast  www.instagram.com/alaaventura/  X: @alaaventura    Ayuda a hacer posible este podcast a través de Patreon http://wwww.patreon.com/alaaventura  ¡Obtén hasta dos meses de servicios gratis en Libsyn al iniciar tu podcast! Usa el código AVENTURA en al registrarte en http://libsyn.com  Música de entrada y salida: The Consouls - Arashi no Saxophone 2 (The King of Fighters '96) Funk Cover. Encuentra toda la música de The Counsouls en https://theconsouls.com/

SPONSORS: - For simple, online access to personalized and affordable care for Hair Loss, Weight Loss, and more, visit https://Hims.com/YMH. - New Customers Bet $5 Get $300 in Bonus Bets If Your Bet Wins. The Crown Is Yours! Sign up using https://dkng.co/mom or through my promo code MOM. #DKPartner - Sign up for your one-dollar-per-month trial and start selling today at https://shopify.com/ymh This week, Christina P holds down the fort while Tom Segura is away, and she's joined by comedian Joe DeRosa, who will soon be joining the YMH family with a podcast of his own entitled "Vile & Horrendous". He helps Christina along for for an absolutely off the rails episode packed with wild clips, hot takes, and some classic YMH energy. From an unexpectedly epic saxophone intro, to a disturbing church meltdown, to Christina's meticulously curated TikTok insanity, this episode spirals fast, before finally landing on a brutally accurate breakdown of boring corporate fast food culture. The house they filmed Home Alone in is also in sale and looks like an insane place to live in! So strap in, stay black, keep those jeans high and tight. Your Mom's House Ep. 842 https://tomsegura.com/tour https://christinap.com/ https://store.ymhstudios.com https://www.reddit.com/r/yourmomshousepodcast GAMBLING PROBLEM? CALL 1-800-GAMBLER, (800) 327-5050 or visit http://gamblinghelplinema.org (MA). Call 877-8-HOPENY/text HOPENY (467369) (NY). Please Gamble Responsibly. 888-789-7777/visit http://ccpg.org (CT), or visit http://www.mdgamblinghelp.org (MD). 21+ and present in most states. (18+ DC/KY/NH/WY). Void in ONT/OR/NH. Eligibility restrictions apply. On behalf of Boot Hill Casino & Resort (KS). Pass-thru of per wager tax may apply in IL. 1 per new customer. Must register new account to receive reward Token. Must select Token BEFORE placing min. $5 bet to receive $300 in Bonus Bets if your bet wins. Min. -500 odds req. Token and Bonus Bets are single-use and non-withdrawable. Token expires 2/1/26. Bonus Bets expire in 7 days (168 hours). Stake removed from payout. Terms: http://sportsbook.draftkings.com/promos. Ends 1/25/26 at 11:59 PM ET. Sponsored by DK. Chapters 00:00:00 - Intro 00:00:50 - Facts Of Life Girls & Vintage Collectables 00:08:30 - Not About That Weed 00:14:45 - Opening Clip: Can't Make Friends 00:20:33 - Saxophone 00:26:36 - Clip: Crazy Church Man 00:37:35 - Joe DeRosa Is Vile & Horrendous 00:48:01 - Lipshitz Plug 00:49:36 - Christina's Curations 01:03:49 - Home Alone House & Boring Corporate Fast Food 01:09:40 - Closing Song -"Cool Girl Club" By Versace Kolache Learn more about your ad choices. Visit megaphone.fm/adchoices

Every time I go to upload the episode this week, I get an error. So I'm sick of rewriting a witty episode description. If this ends up being what you see... it worked. Fuck this shit.*** Wanna become part of The Gaggle and access all the extra content on the end of each episode PLUS tons more?! Our Patreon page is LIVE! This is the biggest way you can support the show. It would mean the world to us: http://www.patreon.com/canyoudontpodcast ***New Episodes every Wednesday at 12pm PSTWatch on Youtube: https://youtu.be/bzEftxwFih8Send in segment content: heyguys@canyoudontpodcast.comMerch: http://canyoudontpodcast.comMerch Inquires: store@canyoudontpodcast.comFB: http://facebook.com/canyoudontpodcastIG: http://instagram.com/canyoudontpodcastYouTube Channel: https://bit.ly/3wyt5rtOfficial Website: http://canyoudontpodcast.comCustom Music Beds by Zach CohenFan Mail:Can You Don't?PO Box 1062Coeur d'Alene, ID 83816Hugs and tugs.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

From military parades to smoky clubs, one invention's wild journey reveals how an instrument can become a symbol of rebellion and reinvention. Subscribe to SiriusXM Podcasts+ to listen to new episodes of 99% Invisible ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Sarah is trying to talk Susie into loving winter sports, and it ain't working. In fact, she's decided Shaun White is on our list of people we have bad vibes about. We hear why Sarah thinks she'd be great at ice skating. We learn why breakfast foods are becoming more expensive, Florida is out of the orange juice biz, and Susie doesn't know what she's going to eat now. We find out why China is causing a bizarre boom in saxophone players, and Sarah has a theory about it. We discuss sports betting, why it's a problem, and how apparently you can be a "professional slot machine player." Plus, a woman found out she has the blood of a man, and we are baffled about how that works.00:00 - Sarah's Winter Sports Push and Shaun White'sBad Vibes09:46 - Breathe Cleaner Air with Air Doctor Air Purifiers12:01 - Why Orange Juice & Breakfast Staples Are Becoming a Luxury20:25 - Wrap Yourself in Luxury with Cozy Earth Bedding & Pajamas21:52 - The Shift to Struggle Meals as Breakfast Becomes Pricier27:00 - The Bizarre Boom of Saxophone Players in China33:57 - Share Cherished Memories with Aura Digital Photo Frames36:20 - ChatGPT Wins Lottery & The Dark Side of Sports Betting53:08 - The Incredible Case of a Woman with Male Blood Cells01:00:18 - Final Thoughts, Listener Thanks & Holiday WishesBrain Candy Podcast Website - https://thebraincandypodcast.com/Brain Candy Podcast Book Recommendations - https://thebraincandypodcast.com/books/Brain Candy Podcast Merchandise - https://thebraincandypodcast.com/candy-store/Brain Candy Podcast Candy Club - https://thebraincandypodcast.com/product/candy-club/Brain Candy Podcast Sponsor Codes - https://thebraincandypodcast.com/support-us/Brain Candy Podcast Social Media & Platforms:Brain Candy Podcast LIVE Interactive Trivia Nights - https://www.youtube.com/@BrainCandyPodcast/streamsBrain Candy Podcast Instagram: https://www.instagram.com/braincandypodcastHost Susie Meister Instagram: https://www.instagram.com/susiemeisterHost Sarah Rice Instagram: https://www.instagram.com/imsarahriceBrain Candy Podcast on X: https://www.x.com/braincandypodBrain Candy Podcast Patreon: https://www.patreon.com/braincandy (JOIN FREE - TONS OF REALITY TV CONTENT)Brain Candy Podcast Sponsors, partnerships, & Products that we love:Visit https://auraframes.com and get $45 off Aura's best-selling Carver Mat frames - named #1 by Wirecutter - by using promo code BRAINCANDY at checkout.Head to https://airdoctorpro.com and use promo code CANDY to get UP TO $300 off today! Stack my code BRAINCANDY on top of their sitewide sale at https://cozyearth.com — giving you up to 40% off in savings. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.