Podcasts about symphonic

AI keeps getting called music's biggest threat. Or its biggest opportunity. Both framings miss the point. The real question is harder: if AI can handle the cognitive work, what's left that actually matters? We're joined by Jessica Powell, CEO and co-founder of AudioShake, to figure that out. We talked about why experienced practitioners get the most out of AI, what happens to the creators caught in the middle, and whether "AI-generated" is already a useless label. We also break down how AudioShake works — not generative AI, but subtractive stem separation and why physical media and community could be music's quiet hedge against digital abundance. CHAPTERS 04:53 Music vs. Code 07:46 Taste and Differentiation 14:27 Should We Label AI Music? 17:41 How AudioShake Works 26:23 Vibe Coding, Jobs, and Disruption SUMMIT Get your Trapital Summit tickets here SPONSORS Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

Revealed: The Top Secrets A&Rs Look for in New Artists Dive into the evolving world of A&R as we chat with Ed Poston, Head of A&R at Symphonic Distribution! Discover what it takes to stand out as an artist, how strong management teams power long-term careers, and how Ed blends analytics with intuition when scouting new talent. Plus, gain actionable advice on career building, finding your true audience, and making the most of today's music industry options! Perfect for musicians & managers ready to level up.

Was there ever truly a "monoculture”? Or have we been telling ourselves a comforting story about past shared experience? We sit down with Tatiana Cirisano, VP of Music Strategy, MIDiA Research to unpack how we got from finale watch parties to infinite algorithmic feeds. If culture is so fragmented, why does everything online look, sound, and feel the same? We did more into the great cultural collapse, and whether live events are the last water-cooler moments standing. CHAPTERS 04:11 Was Culture More Fragmented Than We Remember 05:42 Consumption vs. Consciousness 10:35 Stages, Porches, and Living Rooms 15:44 Internet Culture Sameness 20:39 Algorithms as Gatekeepers 29:03 Live Events and Differentiation SPONSORS Trapital Summit Tickets Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

Can transcendence still make philosophical sense after modernity? John Vervaeke speaks with philosopher William Desmond about Platonism as a living tradition, the meaning of strong transcendence, and Desmond's philosophy of the metaxu: the between. The conversation builds from John's proposal that relevance realization and transjectivity are philosophically grounded in Desmond's ontological account of the between. John begins by distinguishing modern psychological accounts of transcendence from the ancient and Platonic sense of strong transcendence. In this stronger sense, transcendence is not merely a better state of mind. It discloses truths that are otherwise unavailable and changes the knower's relation to reality. That claim challenges modern assumptions about flat ontology, the buffered self, representational cognition, and the fact-value split. Desmond responds through Plato. He presents Plato not as a dry theorist of two worlds, but as a philosophical artist of the between: a thinker of mimesis, eros, mania, dialogue, singularity, and participatory transformation. Plato's dialogues are not ornamental containers for arguments; their drama, characters, and dialogical movement are part of the philosophy itself. The later conversation opens into deep memory, imagination, eternity, possibility, God, Daoism, intercultural philosophy, pilgrimage, and the life-world. Desmond and Vervaeke converge on the need to move beyond the view from nowhere and return philosophy to transformative practice, embodied dwelling, and a richer contact with the sources of intelligibility. Key Insights Strong transcendence has epistemological and ontological significance, not only psychological benefit. The metaxu, or between, names a porous relation before, beneath, between, and beyond modern dichotomies. Modernity's fact-value split risks producing default atheism or default nihilism. Participatory knowing offers an alternative to treating cognition as internal representation of an external world. Plato's dialogical form is integral to his philosophy; the drama cannot simply be stripped away to extract arguments. Mimesis involves relation between image and original without collapsing their difference. Eros and mania point to two directions of transcendence: from below upward and from above downward. Deep memory is a source of imagination and ontological depth, not merely storage of past facts. Possibility should not be reduced to logical possibility; living possibility points toward enabling power. Pilgrimage and theoria are linked: philosophical transformation requires being on the way, not merely observing from nowhere. Timestamps 00:00 Welcome and setup 01:00 Relevance realization and the philosophy of the between 02:00 Platonism as living tradition 02:40 The need for strong transcendence 03:50 Transcendence after modernity 04:40 William Desmond introduces his work 05:00 Between system and poetics 06:00 The Western tradition as conversation partner 08:00 John's paper on strong transcendence 09:20 Psychological transcendence in modern thought 10:00 Truths disclosed through transcendence 11:00 Flat ontology and layered reality 12:30 The buffered self 14:00 Fact-value dichotomy and default atheism 15:10 Contact epistemology and participatory relation 17:20 Being realized as you realize 18:20 Anagoge and the cave 18:40 Interior, exterior, and superior transcendence 20:10 Autonomy, heteronomy, theonomy, and theosis 21:30 Desmond responds 22:00 Plato's philosophical art and the Sophist 22:30 Art, origins, and otherness 23:40 Originality, creativity, and modern art 25:20 Mimesis and the difference between image and original 28:20 Plato as thinker of the metaxu 29:00 Eros and self-transcendence 30:00 Mania and divine inspiration 31:30 Inspiration as transmission 33:20 Metaxology and Hegel 34:40 The Sophist and participatory knowing 36:40 The who of the sophist 38:10 Periagoge and the turning of the soul 39:40 Philosophy as a way of life 40:30 Exiting modernity's frame 43:20 The dialogue form is not ornamental 45:30 Socrates as an image of courage 46:20 Dialogos and method 48:00 Diaphanous logos 49:00 Singular incarnation and witness 51:10 Theoria as contemplation and pilgrimage 52:00 John's dialectic-in-dialogos practice 53:20 Anamnesis in practice 54:20 The logos beyond the participants 55:20 Deep memory and imagination 57:00 Muses, memory, and hidden springs 58:20 AI and outsourced memory 59:00 Memory as ontological depth 01:00:30 Eternity and the other to time 01:02:40 Inward otherness and ultimate otherness 01:04:50 Plato's sun and enabling light 01:06:20 Porosity and the buffered self 01:07:00 Living possibility 01:09:00 Possibility, transcendence, and God 01:10:40 What makes intelligibility intelligible? 01:11:40 Eastern and Western approaches to possibility 01:13:30 Coming to be and becoming 01:15:40 Nicholas of Cusa 01:17:00 Wu wei and giving way 01:18:20 Daoist practice and Socratic midwifery 01:20:20 Philosophical Silk Road 01:22:10 The intimate universal 01:23:20 Against philosophical tourism 01:25:30 Elemental porosity 01:26:00 Pilgrimage and practice 01:27:40 Being underway 01:29:30 Theoria as metanoetic passage 01:30:10 Symphonic language 01:34:00 The life-world 01:35:40 Rejecting the view from nowhere 01:36:20 Closing Resources William Desmond, Being and the Between William Desmond, Ethics and the Between William Desmond, God and the Between William Desmond, Art, Origins, Otherness: Between Philosophy and Art Plato, Symposium, Ion, Sophist, Republic, and Laches Plotinus and Proclus Hegel Charles Taylor Catherine Pickstock, Aspects of Truth Paul Tillich Thomas Aquinas Nicholas of Cusa Pierre Hadot Henry Corbin Frank, Gleiser, and Thompson, The Blind Spot Follow John Vervaeke: Website: https://johnvervaeke.com/ YouTube: https://www.youtube.com/@johnvervaeke/videos X: https://x.com/DrJohnVervaeke Patreon: https://www.patreon.com/johnvervaeke

– Detta är en repris från 2020 –Vi plockar fram och dammar av ett riktigt gammalt ämne – nämligen sekter. Vi har letat och letat efter bra fall att kunna berätta för er om och nu har vi äntligen lyckats!Vi börjar med en lite speciell men extremt farlig sekt, för att sedan gå vidare till vad man kanske skulle kalla en mer klassisk sekt.Fall: Aum Shinrikyo & FLDSMusik”Nikol S. & Symphonic band – The shadows of horror (symphonic song)” av Nikol S. (Luna sounds)creativecommons.org/licenses/by/3.0/KontaktFacebook: SpöktimmenInstagram: @spoktimmenMail: spoktimmenpodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

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– Detta är en repris från 2019 –Ett av de läskigaste ämnena vi har måste ju ändå vara seriemördare. För man vet inte hur de tänker, vem de kommer skada härnäst och vi förstår inte vad som driver dem.I denna del fem så pratar vi om en klassisk seriemördare – en man som våldtar och mördar kvinnor – men så pratar vi även om något så ovanligt som en kvinnlig seriemördare. Och det är inte bara det att hon är kvinna som gör henne unik, sättet hon mördar på är extremt.Fall: Guy Georges & Joanna DennehyMusik”Come out and play” av DesperateMeasurez”Nikol S. & Symphonic band – The shadows of horror (symphonic song)” av Nikol S. (Luna sounds)creativecommons.org/licenses/by/3.0/KontaktFacebook: SpöktimmenInstagram: @spoktimmenMail: spoktimmenpodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

K-Pop is in a unique situation. The genre “feels” like it's everywhere. BTS, Blackpink, Stray Kids, and KPop **Demon Hunters have topped Billboard and Netflix charts. But recent data shows that roughly 2% of global streams are from K-Pop, and the genre is and trending down. We are joined by Will Page, former Chief Economist at Spotify and author of Pivot. He released a new report on Music Business Worldwide in collaboration with Jeongbeom ‘JB' Kim, Chief Data Officer at the Korean-based KreatorsNetwork. We discussed how K-Pop's demand is centralized at the top, why even a phenomenon like KPop Demon Hunters didn't lift the rest of the genre, and what Western labels keep getting wrong when they try to copy the model. We dive deep into Korea's "export or die" culture, and what other sports may teach music about reaching new audiences. CHAPTERS 04:47 The Status of K-Pop 08:28 The Impact of BTS' Hiatus 17:02 The Limitations of Superfan Monetization 24:38 "Export or Die" Model 29:44 Inflation's Impact on Music 31:28 Lessons from Formula 1 SPONSORS Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

– Detta är en repris från 2018 –Vad passar bättre att lyssna på en vårkväll än läskiga berättelser? I det här avsnittet så blir det det bästa av två världar: hemsökta platser blandat med en uppföljning av oförklarliga ljud. Vågar du lyssna? Ämnen: Linns spökupplevelse, Adventsmordet, Valla torg, Glimmingehus, Oförklarliga inspelningar Musik”Nikol S. & Symphonic band – The shadows of horror (symphonic song)” av Nikol S. (Luna sounds)Drones av Standingwavecreativecommons.org/licenses/by/3.0/KontaktFacebook: SpöktimmenInstagram: @spoktimmenSnapchat: spoktimmenMail: spoktimmenpodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

"Blue dot fever" is the new phrase floating around for artists whose tours have seat maps full of unsold blue dots for concerts, especially in arenas and stadiums. It's said to be a precursor to a cancelled tours. The term is catchy, it captures headlines, but is the “problem” a bit exaggerated? To break it down, I'm with CAA music touring agent Akin Aliu. We last sat down for Arena Tours: The Art and Science Behind Sold Out Shows. With blue dot fever now part of the discourse, we dive deep into the latest in the business, how agents anticipate demand, and what usually leads to a successful or unsuccessful tour. CHAPTERS 03:27 What is Blue Dot Fever? 08:07 Ticket Costs and Pricing 13:06 The Leap to Arena Tours 18:17 Tour Packaging and Residencies 20:35 VIP & Ancillary Revenue SPONSORS Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

Get your episodes early, guitar tone & more here: https://patreon.com/garzapodcastGarza sits down in-person with Francesco Paoli & Veronica Bordacchini from Italian symphonic death metal band FLESHGOD APOCALYPSE. On tour now w/ Avatar! https://instagram.com/fleshgodofficial00:00 - Avatar05:25 - Veronica Learning Opera10:58 - Video Games // Snake13:32 - Parenthood16:14 - Writing Music in Kid's Room18:07 - Shower Ideas21:17 - Learning English & Swedish24:10 - First U.S. Tour31:54 - Staying Productive During Lockdown35:37 - Livestream w/ No Makeup40:29 - Coming Up with the Band Look48:10 - Discovering Metal Bands51:23 - Francesco's Early Bands53:14 - Boss HM254:47 - Oracles59:17 - The Mountain Climbing Injury1:22:40 - Writing “I Can Never Die”1:24:10 - New Music1:26:06 - How Veronica Found Her Own Voice1:31:24 - Support Good Art1:35:00 - 3 Albums to Check Out

– Detta är en repris från 2018 –Det har blivit dags för ett nytt tema, nämligen mänskliga experiment. Vi pratar om fängelseexperimentet med studenter som gick överstyr och om en av världshistoriens värsta monster, känd från andra världskriget som Dödens ängel. Fall: Stanford fängelseexperimentet & Josef MengeleKontaktFacebook: SpöktimmenInstagram: @spoktimmenMail: spoktimmenpodcast@gmail.comMusik”Nikol S. & Symphonic band – The shadows of horror (symphonic song)” av Nikol S. (Luna sounds)”Come out and play” av DesperateMeasurezcreativecommons.org/licenses/by/3.0/ Hosted on Acast. See acast.com/privacy for more information.

OFFICIAL WEBSITE: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.stcosmocast.comOFFICIAL DISCORD: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/7XBWYR24d5OFFICIAL BLUESKY: ⁠⁠⁠⁠https://bsky.app/profile/cosmocast.bsky.social⁠ ⁠⁠Our Bookshop.org Affiliate Shop, all proceeds go to the show: https://bookshop.org/shop/Ramseslibrary⁠Retrurning from Barcelona is Jackie! but also too, returning is a ALOT of news, including BREAKING news as we where recording! we discuss the news, plus Jackie's trip to Spain, and alot more on this edition of the Saint Seiya Cosmocast.TIMESTAMPS:00:00:00 Intro, furbabby talk00:05:25 News01:51:56 Jackie in Spain, and Saint Seiya Symphonic Adventure discussionLinks of Interest: Athe'Art Mythology. Jackie's artist, who is taking commisions right now!https://x.com/Art_atheOrder Saint Seiya Dark Wing Vol. 1, 2,3 and 4 here from our affiliate link and support the show:https://bookshop.org/a/110374/9781787747180⁠⁠⁠ https://bookshop.org/a/110374/9781787747197⁠⁠ ⁠https://bookshop.org/a/110374/9781787747203https://bookshop.org/a/110374/9781787747210⁠Universo Saint Seiya: ⁠https://www.youtube.com/@UniversoSaintSeiya⁠Team’s Bluesky: Ramses: ⁠⁠⁠https://bsky.app/profile/professorramses.vtubers.socialJackie: ⁠⁠⁠⁠https://bsky.app/profile/flowermiko.bsky.social⁠⁠⁠⁠Benjas: ⁠⁠⁠⁠https://bsky.app/profile/el-benjas.bsky.social⁠⁠⁠⁠Ramses’ Twitch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitch.tv/ProfRamsesVT⁠⁠⁠⁠MUSIC CREDITS: Opening and Ending by ⁠⁠⁠⁠Cyberdeous⁠⁠⁠⁠ off their album ⁠⁠⁠⁠Saint Sega⁠⁠⁠⁠. Buy this album and many other of their works now on Bandcamp!

– Detta är en repris från 2020 –Det har blivit dags för temat stalkers. Vi ger er en efterlängtad uppdatering om The Watcher (Stalkers 1), berättar om familjen Kuykendall som plågas av en främling som övervakar familjens varje steg samt om Laura Black som blir stalkad av en kollega. Ett fall som tar en fruktansvärd vändning.Fall: The Watcher, familjen Kuykendall & Laura Black[REKLAM] Gå med i Patreon här: https://www.patreon.com/spoktimmenMusik”Requiem Demo (Horror)” av ianchenmusic”Nikol S. & Symphonic band – The shadows of horror (symphonic song)” av Nikol S. (Luna sounds)creativecommons.org/licenses/by/3.0/KontaktInstagram: @spoktimmen@linnkarolina@jennyborg91Facebook: SpöktimmenMail: spoktimmenpodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Grab your winter coat and your dancing shoes because we are traveling from the tundra to the dancefloor!

Fall 1:Djupt inne i skogarna i Tjeckien ligger ett slott. Ett slott som inte liknar något annat. För till skillnad från andra borgar ser det inte ut att vara byggt för att försvara sig mot yttre hot. Istället verkar de kraftigaste murarna vara riktade inåt. Som om hela slottet inte byggdes för att hålla fiender ute, utan istället för att hålla någonting inne.Fall 2:Ett vitt, till synes oskyldigt hus, omringat av gröna böljande kullar och täta skogar. Vid första anblick ser det helt vanligt ut, nästan idylliskt. Men under ytan döljer sig något betydligt mörkare. För det verkar inte bara vara huset, eller marken det står på, som är hemsökt, utan hela staden det ligger i. Och det där vita, oskyldiga huset anses av många vara det mest hemsökta av dem alla.Det har blivit dags att rysa ordentligt, för vi ska prata hemsökta platser. Fall: Houska slott & Hinsdale House. [REKLAM] Länk Patreon: https://www.patreon.com/spoktimmen Källor: https://www.spoktimmen.se/220 Musik”Requiem Demo (Horror)” av ianchenmusic”Come out and play” av DesperateMeasurez”Nikol S. & Symphonic band – The shadows of horror (symphonic song)” av Nikol S. (Luna sounds)https://creativecommons.org/licenses/by/3.0/ KontaktInstagram: @spoktimmen@linnek@jennyborg91 Facebook: Spöktimmen Mail: spoktimmenpodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

SoundCloud is at a turning point, and CEO Eliah Seton takes us inside the strategy shaping its future. In this conversation, we break down how SoundCloud evolved into a two-sided marketplace for artists and fans, why it moved on from potential sales, how it's embracing AI, and doubling down on the moves that work best for both creators and fans. CHAPTERS 03:34 Update on a Potential Sale 08:23 How SoundCloud is Structured Today 21:20 AI Principles 33:23 Financial Health and Profitability SPONSORS Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

I sat down with the legendary record executive Clive Davis. We looked back on the career-defining moments that made him one of the most influential figures in music. He shares memories from the Beverly Hills Hotel, where we recorded the conversation. We also discussed the evolution of his famed pre-Grammy gala, and the philosophy behind honoring artists in the room. Davis also revisits being pushed out at Columbia, Arista, launching J Records, and the story behind Whitney Houston recording “Why Does It Hurt So Bad.” It's a conversation about instinct, reinvention, and what it takes to keep going at the highest levels in business. CHAPTERS 04:21 Clive Davis' Pre-Grammy Gala 11:30 Lessons Learned at Columbia 15:38 From Arista to J Records 23:41 When Whitney Houston and Clive Disagreed SPONSORS Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

In part two, you'll hear Clive Davis reflect on strategic decisions made when running a record label and career revivals he helped shape that defined another chapter of his run. He discusses the balance of control and economics in label joint ventures, why hitmakers are not always great talent scouts, and how LaFace became a powerful force through artists like Toni Braxton, TLC, and Pink. Davis also shares how he revived the careers of timeless artists, including Dionne Warwick, Aretha Franklin, Rod Stewart, Santana, and Luther Vandross. It's a conversation about instinct, patience, and the discipline it takes to build lasting success in the music business. CHAPTERS 02:51 LaFace, Label Deals, and Joint Ventures 09:42 TLC, Toni Braxton, and P!nk 12:37 The Cost of Breaking Artists 17:05 Aretha, Rod Stewart, and Santana 21:14 Catalog vs. Career Revival 25:30 Follow-up Call SPONSORS Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

– Detta är en repris från 2020 –I det här avsnittet börjar vi med att bege oss till en otroligt vacker grotta i Thailand och följer med ett par ut på en romantisk resa som går fruktansvärt fel.Sen avslutar vi ute till havs med en hemsk katastrof som skördar flera liv – en katastrof som med tiden visar sig vara något mycket värre.Fall: Helena Carroll & Terry Jo Duperrault Musik”Requiem Demo (Horror)” av ianchenmusic”Come out and play” av DesperateMeasurez”Nikol S. & Symphonic band – The shadows of horror (symphonic song)” av Nikol S. (Luna sounds)creativecommons.org/licenses/by/3.0/ Hosted on Acast. See acast.com/privacy for more information.

Jonathan and Angee are joined this week by two (literal) rock stars from the Auburn Symphony Orchestra -- Exeutive Director Gabi Galloway and Music Director Wesley Shulz! If you've been to an Auburn orchestra show, you'll also recognize Wesley as the conductor up on stage directing the entire production. Wesley joins us for the second time in the podcast's history to talk about all the amazing things happening this year, beginning with a Rhythm and Rhymes Story Hour and Postmark Center for the Arts this Saturday at 10 a.m. and a FREE family concert at the Auburn Performing Arts Center on April 26 -- more details on the orchestra's website: https://www.auburnsymphony.org/ Listen to learn why and how live music helps us connect with the places we live, and stick around until the end to test your knowledge of Sim-Phony trivia.  

“The technology we’re working with today really makes a lot of those best practices and mental models and the whole toolkit more accessible than ever to more people.” –Marshall Kirkpatrick About Marshall Kirkpatrick Marshall Kirkpatrick is founder of sustainabilty consultancy Earth Catalyst and AI thinking tool What's Up With That. His many previous roles include founder of influence network analysis tool Little Bird, which was acquired by Sprinklr, where he was last Vice President Market Research. Website: whatsupwiththat.app LinkedIn Profile: Marshall Kirkpatrick What you will learn How generative AI transforms cognitive tools and lowers barriers to advanced thinking Techniques to combine human and AI-powered sensemaking for richer insights Practical strategies for filtering and extracting value from infinite information The importance and application of diverse mental models in modern decision-making Methods to balance manual cognitive work with AI assistance for optimal outcomes The role of adaptive interfaces in enhancing individual cognitive capacity Metacognitive approaches to networks and how AI can foster organizational awareness Ethical and societal implications of democratizing access to AI-powered cognitive enhancements Episode Resources Transcript Ross Dawson: Marshall, it is awesome to have you back on the show. Marshall Kirkpatrick: Oh, thank you, Ross. It’s such a pleasure to be reconnecting with you here. Thanks for having me on. Ross Dawson: So back you were very, very early on in the podcast when it was Thriving on Overload, and it was interviews with the book, and you got incorporated—some of the wonderful things you were doing in Thriving on Overload. So I think today, in this world of generative AI, which has transformed everything, including the way in which we think, the Thriving on Overload themes are still super, super relevant, and in a way, we need to be talking about them more. That theme at the time was finite cognition, infinite information. How do we work well with it? I don’t know if our cognition has become more finite, but the information has become more infinite, and there’s just more and more. But also, it cuts two ways, as in, what is the source of all the information? AI is also a tool. So anyway, let’s segue from some of your cognitive thinking tools, technology-enabled cognitive thinking tools and so on, which we looked at. So how do you—where are we? 2026, what do you think about human cognition in our current universe? Marshall Kirkpatrick: Well, especially when you frame it up in Thriving on Overload terms. I mean, those were four, five long years ago that we last spoke, and the book that came out of it was just fantastic. I think it has some timeless qualities, and I think that the technology we’re working with today really makes a lot of those best practices and mental models and the whole toolkit more accessible than ever to more people. That’s what I hope. I think that, yeah, between individuals and organizations, there’s so much that, historically, someone like you or me or the people closest in our networks were willing and able to do and excited to do, that many other people said, “That sounds like a lot of work.” The bar is lower now, because a lot of just the raw cognitive processing can be outsourced into a technology that serves as a lever. Ross Dawson: Well, I mean, that idea of levers for these cognitive tools is interesting. I guess, the very crude way of saying it is, we’ve got inputs into our human brain, and then we are processing information. I’m just thinking out loud a bit here, but it’s like, okay, we have tools to be able to filter, to present, to find what is most relevant, to present it to us in the ways which are most useful—very obvious, like summarization, visualization. Then as we are processing it ourselves, we have dialog, or we can have interlocutors who we can engage with and be able to refine and help our thinking. Does that sort of make sense, or how would you flesh that out? Marshall Kirkpatrick: Yeah, I mean, when you put it that way, it makes me think about Harold Jarche and his Seek, Sense, Share model, right? I think that AI, especially when connected to things like search and syndication and other traditional technologies, can impact all three of those stages. It can hypercharge our search. I think the archetypal example of that, on some level, feels like the combinatorial drug research being done, where just an otherwise cognitively uncontainable quantity of combinatorial possibilities between molecules can be sought out and experimented with for a desirable reaction. And then that sensing, or the pattern recognition that AI is so good at, is something that we do as humans—some of us better than others—and it’s a lifelong muscle to build and what have you. But the AI is really, really good at it, and so it’s a ladder to climb up in some of that sensing. And then the sharing component becomes so much easier with the rewriting capabilities—turn A into B, reformat something into a summary or a set of bullet points, or ideas and words into code. AI is just so excellent for that translation that makes new levels of sharing possible. Ross Dawson: That’s fantastic. Yeah, I had Harold on the show again in the Thriving on Overload days. But you’re right, that’s extremely relevant. Let’s dig into that. I love that you brought up that combinatorial search, which is so important. As opposed to going into Perplexity to do a search, it’s far more interesting to find the uncovered connections between things, which are relevant to what you’re doing. And that’s— Marshall Kirkpatrick: Absolutely. I remember reading, years ago, Dan Pink’s book “A Whole New Mind,” which preceded the generative AI era. But he said, if your kind of work is something that’s easily reproducible by computers, good luck to you. You really are going to need uniquely human practices in the future, and what exactly those are, I’m not sure, because the one that he identified, I don’t think has proven to be uniquely human. But I really appreciated learning about it from him, and that was what he called symphonic thinking, or the ability to draw connections between seemingly unconnected phenomena. So for many years, I have been doing a personal exercise with pen and paper that I call triangle thinking, where I’ll take three different phenomena—maybe that’s the owl outside my window, one of the notes that I’ve taken on paper, and something I come upon on the internet, or maybe it’s three very deliberately related things. I label them A, B, and C, and I ask, what might A have to say about B? What might B offer to A, and vice versa? I write out the six unidirectional connections between those things. And without fail, one, two, or three of those end up being real keepers, where I say, “Aha, that’s a really interesting idea. I’m going to take action on that.” And now, by the time I’ve got the letter B written out, an AI has done that ten times over. I like to do it both ways—still both AI and with my naked brain—but that combinatorial ideation, the generative combinatorial ideation, is, yeah. I’m curious what your thoughts and experience and hope for that might be. Ross Dawson: Well, there’s a prompt I use called “Apply Diverse Thinking,” where it generates extremely diverse perspectives on a topic—who might those very unusual people to think about something be, and then what would they think about this particular situation? Of course, there are a whole array of different thinking tools. There’s Marshall McLuhan’s tetrad, which is a little bit similar to your thing where, again, you can and should do it—well, not manually. What’s the manual equivalent of brain? Marshall Kirkpatrick: Thoughtfully, perhaps. Yeah, good one—deliberately, manually. I mean, Azeem Azhar over at Exponential View uses a fountain pen and paper and will sometimes have his team come online and they’ll do two-hour thinking sessions with no AI allowed. They just get on, I believe, Zoom, and just think through things with pen and paper, individually and together. And then they’ll kick off OpenAI or what have you, and use all the tools afterwards. Ross Dawson: Yeah, well, a couple of things. Actually, research has shown that in brainstorming, it is better for everyone to ideate individually before doing it collectively. And of course, that’s unaided. I think there are analogs there where—actually, one of the frameworks I just released last week was basically to say, think it through for yourself before you ask the AI, because then you have a reference point. If not, you don’t have a reference point to say, “Well, what am I expecting it to do? Let me think it through for myself,” even if it’s just a little bit, as opposed to just going in blank—”All right, give me an answer.” Just that simple thing of thinking through for yourself first is enormous. What it does is, obviously, give you a reference point for that. And I’m going on a lot about appropriate trust at the moment—as in, trust the AI enough, but not too much, which I think is absolutely critical capability. And part of it is being able to say, “Well, this is what I think it should be giving me.” Now you have a reference point for what it gives you. Marshall Kirkpatrick: Yeah, that sounds great in many cases. I do think that’s the right tool for the job in a lot of places, but not necessarily all. I’m thinking of the Iron Triangle of product management—fast, cheap, good, pick two. On some level, just handing the AI the keys for certain decisions is uniquely fast and cheap, right? And maybe it’s good enough. Ross Dawson: Oh yeah. Well, you’ve got to choose your battles, because if you’re now doing ten times what you were doing last week, then maybe for a tenth of those you can do some thinking before you delegate it to the AI. Marshall Kirkpatrick: Yeah, a strategy for how to do that. I think, well, that sounds important—some checkpoints along the way, some random selection of testing things. Ross Dawson: Well, that’s interesting. One of the critical things people talk about with AI model oversight is sampling. As they say, “Okay, I’ve got 1,000 outputs—I’m going to take 20 of them and check how good they are.” You’re not checking every output, but you’re doing some kind of ongoing sampling. Marshall Kirkpatrick: Are you checking with your own deliberate brain, or are you checking with another AI? Ross Dawson: It could be either, depends on the case—how critical it is. This comes back, of course, to the fact that accountability is only human, and so the human who is accountable has to make that decision: “All right, I’m happy for another AI to check it,” or, “Actually, I want to go in myself to see.” And that’s a judgment call. Marshall Kirkpatrick: Totally. And it feels like a process design issue and a personal accountability matter. I mean, “The AI made me do it” is not a viable excuse. Ross Dawson: Let’s hope it remains that way. So, good for those Seek, Sense, Share stages. Sense is one of your superpowers, both in the way you think and also the way you use the tools. It’s probably worth introducing—now you’ve just released this wonderful product called What’s Up With That. So just tell us about the product, but also, I want to go to the bigger context of sense—sensemaking, how we use it generally, how AI can use that, and your role with the tool in that. Marshall Kirkpatrick: Yeah, you know, I think there are so many different ways that sense can be made of anything, so many different ways that anything you read or think about or do can be put into context. It’s just overwhelming. I think we all have our favorite—not all of us, but those of us who are into this have our favorite tools, our favorite ways to—you know, a lot of people will think about something in terms of its past, its present, and its future, or they will break it down in analysis into parts, or they’ll synthesize it together with other phenomena and see how to understand. I think sometimes of the famous Donella Meadows quote, the mother of systems thinking, who said, “Systems thinking isn’t any better than analytical linear thinking than a telescope is better than a microscope.” So there’s just a superabundance of fascinating, powerful tools that all provide different views on anything we’re trying to make sense of. One of the things that I’ve always found a lot of joy and usefulness and power in is learning about new lenses and processes and tools. Now that generative AI has put the ability to develop software into my hands—instead of having to go and hire someone else to build that software—I have built a system that takes as many of those different models and lenses and processes for making sense of something as I can. I mean, it would be trivial to pull up a list of 200 mental models. I might go visit Shane Parrish’s website and The Knowledge Project. I think of ones that would be particularly useful, like, “Tell me who the intellectual predecessors are of this thing I’m reading,” or one of the other capabilities inside of What’s Up With That—my favorite, probably, is a combinatorial one called Fertile Edges. That says, “Take what I’m reading right now, identify the topic that it is a constituent of, and then find other adjacent topics where innovative people have built bridges between those adjacent topics and what I’m reading about, and tell me who those people are.” And that’s really fun. So I have built this sensemaking system, and that’s a part of What’s Up With That. There are really three parts to it. The first is, it analyzes whatever you’re reading or watching, and it pulls out the net new, truly novel, most notable elements. Yesterday, I was telling you, it was a little bit inspired by the US military intelligence guideline that says, when you’re writing up a report about something, focus on what’s new in that situation—tell us what we don’t already know. That’s the first thing that What’s Up With That does. It says, “All right, here’s what’s new in this document relative to its field,” because we just drew a real-time map of the state of the art, and we say, “Okay, here’s what’s really novel there.” The second thing that it does is that toolbox full of all the different mental models and lenses, and it recommends a sequence. One of my favorite books I ever read was “On Grand Strategy,” about strategic thinkers throughout history, who talks about the significance of thinking in terms of sequences of actions. So now, What’s Up With That will say, “Here’s a sequence of analytical lenses we recommend that you subject this document to,” and with a click, it’ll go and do that for you—it’ll do that cognition for you and then just give you a report. The third thing that it does is probably—it, the shorthand for it is compound learning. You don’t have to remember all the things that you read anymore, because our system extracts the causal claims from everything you read, archives them, and then compares everything you read in the future that you analyze with our system to your library of causal connections in the past, to say, “Whoa, we just found a chain of claims that could surface a multi-step risk or opportunity that’s relevant to your work.” We do that both for your data exhaust—your history of things you’ve analyzed—and we do persistent monitoring of the web to detect anything that could be relevant to a project or chain by that same kind of symphonic synthesis and connection. So those are the categories that it has. Ross Dawson: Yeah, I think you’re only scratching the surface of what your tool actually does, and obviously, more generally, these are just pointing in wonderful ways to how you can go beyond saying, “Tell me about this, ChatGPT,” to some far more nuanced ways of getting AI to do it. Marshall Kirkpatrick: People have had the same challenge with Google, historically. Google has struggled with that, to figure out—”I’m feeling lucky” was probably the first intervention in a novice, beginner’s mind, coming to a hyper-complex opportunity space. Even still, now, 20 years since Google launched, I feel like you can tell people that they can search for “site:domain keyword” to find instances of that keyword not in the web at large, just inside that specific domain, and most people don’t know that. It’s a simple power, and there’s a bunch of things like that. So figuring out how to unlock—and I don’t know how much they’ve even worried about it, because they’ve got that cash cow of advertising—but people don’t even recognize, sometimes, whether they’re clicking on an ad or a search result. In polls, when people are asked, they say, “No,” even if they put the ads at the top or mark them as ads, or a bunch of stuff they do do, but nobody notices. So that interface of complexity and accessibility and scale—we’re in it again here now, in this generative AI era. There’s so much more that could be done than is immediately obvious. It’s a real challenge. So I’ve taken the approach that I have, which is to roll up a bunch of that and turn them into buttons and recommend them automatically and try to recommend them just in time, and stuff like that. But I’m sure lots of different people are going to try to respond to that gap of simplicity and complexity in different ways. Ross Dawson: Yeah, that’s—which comes back, I think, a little bit to, you know, I firmly believe that the heart of the future is interfaces. We have these extraordinary capabilities—against finite cognition and infinite capabilities, let’s call them. That’s very much to the individual. The adaptive interface, I think, is going to be absolutely critical. All right, well, it’s after lunch and I’m not feeling so—the interface adapts to you. Marshall Kirkpatrick: So I heard you say that. Ross Dawson: The interface adapts again. Marshall Kirkpatrick: Right? I heard you say that in a conversation with Ramez Naam some time ago. I was listening to that interview that the two of you did together while I was playing hacky sack out in front of my house. I grabbed my hacky sack and I said, “I’ve got to go inside and do something about this idea of Ross—yes, interface variability.” In that case, I did a little experiment that I didn’t implement because I decided not to, but the general idea I want to pursue further, and I’ll tell you what that experiment was. One of the capabilities inside of What’s Up With That is that you can get a reading review synthesized, so that instead of just a list of links, you can get a narrative document exploring the themes, weaving together the last ten articles that you’ve read, and it’s easier to remember and to think about. I decided to hit the Nanonets API and have an image put up at the top that illustrated the themes. Now, maybe it’s just because I read a lot of dystopian AI, authoritarian politics type of stuff, but the images were terrifying, and they’re kind of expensive and slow, and they also look kind of repetitive. I was like, “All right, Ross, I haven’t cracked that nut quite yet in the variable interface, but I think you’re really on to something there.” Ross Dawson: I’ll try to work on that too, a little bit. So coming back to this wonderful thing we laid out, alluding to some of the wonderful ways we can use for really rich investigation of ideas and how to think. It comes back to this frame of mental models. All of us get our mental models from the moment we’re born—we get this understanding of the world, which is hopefully useful. Sometimes, some people’s mental models are not very effective in guiding them in how they work. Our role is to continue evolving, getting better. I call it enriching mental models. Back in my first book, I talked about that, and of course, that’s in the context of the world changing, so mental models can’t be static anyway. In a way, what you’re pointing to is the many, many ways in which we can, at one point, improve our mental models. All right, I understand this linear lineage of thinking, and I can see the strands between that, and these neurons are connecting in my brain in some form. But how can we pull to that bigger picture of all of this lattice of things to be able to say, “All right, I am actually thinking better through these interactions”? Marshall Kirkpatrick: You know, I think that there is a visceral sense—a sense of safety that can come sometimes when a new mental model illuminates a risk that you hadn’t considered before, and you breathe a sigh of relief and say, “Oh, thank goodness, I can now account for that.” And there’s an excitement with opportunity. There is something about a collective greater-than-individual opportunity here, because it’s tempting to—I’m not sure what that looks like, but I feel like there’s some social and interpersonal and network-based. One of the other things I do is build systems for network self-awareness, to build metacognitive network monitoring kinds of systems. I feel like there are mental models on that level as well. Ross Dawson: So I’ve got to dig into that—metacognitive network monitoring. Explain Marshall Kirkpatrick: Yeah. So every one of us, and our organizations, exists in a network of customers, suppliers, competitors, regulators, thought leaders, with orbits that extend out. The signals are strongest in the closest ones, and perhaps they are weaker and harder to hear, but really significant coming from outer orbits—even from other industries or other topics. It is overwhelming. It is cognitively uncontainable for any of us to keep up with all the work being done, all the thoughts being shared, all the new developments and opportunities from all the different entities that we’re interconnected with. One of the other offerings that I build for organizations is a system where I go out and map as many of those as possible with people. Those might be your target accounts you’re wanting to sell to, or your peers in a community of practice. Then I set up systems, basically using RSS, email newsletters, web page change notification—the technical underpinnings—to say, especially when organizations are—there are some forms of communication that organizations do naturally by default, and those tend to be speaking to their own customers. If you can listen to what organizations are saying to their own customers at scale, you can pull in a large quantity of signal, and then the challenge is to winnow that down into just the filtered signals that are most relevant to your priorities. I’ve got a system that uses AI to do that. Then there are combinatorial possibilities as well. I’ve started merging that in with What’s Up With That now, for example, where when we’re watching your broader network and a signal gets picked up on the back end, we’re generating hundreds of possible scenarios for that signal to intersect with your work and projects and priorities, and then we’re filtering to say, “Yeah, but tell me just the subset of these that are most significant and imminent and actionable and interesting.” If there’s something, then we will alert you and tell you what’s going on. Otherwise, you never hear from us, and you just go about your business. But a couple times a day, I get alerts. Yesterday I got an alert that said, “Hey, one of the founders of Manus, the AI platform that Meta just acquired for $2 billion, just got detained in China trying to go back to Singapore. Given your interests in AI and anti-authoritarian politics and the infrastructure battles around AI, we thought you might want to know about this.” I said, “Thanks, What’s Up With That, I really appreciate it.” That’s an example of the sort of thing—so that’s how I do it. Other customers will take that and use it to populate a podcast or a newsletter, and do both an intake and an output as a conduit of that kind of network self-awareness. Ross Dawson: Yeah, well, as you know, my kind of—my metacognition is my mantra. I think one of the key points is this simple question: How can AI assist me in getting to a point of metacognition? I would argue, if we use AI even vaguely well, it’s already doing that, because you’re saying, “Okay, well, let me think about what I can do and what the AI can do,” and you’re starting to think of that system. The only thing that enables this humans plus AI is metacognition, because you can actually see above and see your role and the AI’s role. I think this broader question of saying, many of the things you’ve been talking about are how AI is helping us to get to a point in metacognition. Marshall Kirkpatrick: Ross, can I ask you a question adjacent to that? I think I am not the only one who wants to know, perhaps—and maybe this is a trade secret, I don’t know—but how you think about your analysis and sharing of scientific research papers online? You’re so good at that, and you do a lot of it, and it’s really valuable. It comes to my mind when you talk about metacognition—what role does that function, what are you doing there, what role do you see that playing in this bigger conversation? Ross Dawson: Well, I’ll just tell you the mechanics of it, which might partly answer your question. I go into, often, three or four of the AI engines, including Grok, actually, because it’s very good at search. I say, “Tell me the most interesting research papers in the last few weeks,” whatever—on, I might say, human-AI collaboration or AI and strategy, whatever it might be, just different frames. Then I go and look at them. To be frank, I probably should do some more filtering with AI and tell them, “Only from reputable authors,” etc., because I have to just look at a lot of stuff, but that’s useful in its own right. Then I start to see, okay, this is a paper which is not only interesting, but actually would be useful to summarize for other people. I do a lot of surfacing—a lot. I’m very quick at scanning, so that’s just a mental process. At that point, when I found the paper, I’ve got a Gemini gem and an OpenAI GPT, both of which I call Insight Distiller. Basically, I stick the paper in there, it comes out, and I always rewrite it. I will either prompt the AI to improve it in various ways, and then always just rewrite or choose which of the points I put in, and so on. So there’s actually a fairly manual process, but very, very AI-assisted. To your point, there’s so much extraordinary research going on, and people don’t look at it. The function, I think, is what you’re alluding to—it’s just like saying, “This is the essence of a paper, and you can read it in a few minutes and get some really good insights, and hopefully that will inspire you to go have a proper look at the paper, because there’s a lot more in there.” To myself, of course, going through all that is enormous and valuable to me, but it’s useful to others too. Marshall Kirkpatrick: Absolutely, wow. That is a high-touch. That’s great. I bet you really have a lot of compounding learning as a result of it. Ross Dawson: Yeah, it’s kind of this thing where, just the nature of how my brain works and my immersion in stuff, I think it somehow gets me to some decent understanding of what’s going on. So to round out, what’s the next phase? I think this is an extraordinary time, but in the frame of what we’re talking about—AI and cognition—from your perspective, or just the world’s perspective, where do we go from here? Marshall Kirkpatrick: Well, I think that it comes down, in part, to values. I can’t help but think about this K-shaped future that we risk moving towards, where some people are using all kinds of augmented capabilities and building on top of past experience and education and what have you, and income inequality just gets more and more intense. The gap between people who are excited about this stuff and can use it, and everyone else, just gets all the bigger. That’s not good for anybody. I really hope that isn’t the case. I’d love to get the J of exponential change without too much of the K of increasing inequality. I think that’s the direction we’re pointed in, but I do hope that we can democratize access to a lot of these capabilities and figure out how to use them in partnership with other ways of thinking—like Azeem and his team, writing on paper, like some of the indigenous traditional knowledge practices around the world that are very place-based and around ecosystem balance and recognizing humans as a part of nature, working with AI and technologies. I’d love to see this be an additive experience, more than a destructive experience for humanity and the rest of the planet. Ross Dawson: Yeah and that’s why you and I both working on is doing whatever we can to nudge things in those directions. So where can people go to find out more about your wonderful work? Marshall Kirkpatrick: Well, these days, I am pointing people mostly to whatsupwiththat.app. That’s kind of my home these days for all the different work. Ross Dawson: I’ll recommend it. Marshall Kirkpatrick: Oh, thank you so much, Ross. Ross Dawson: Very useful, and I’ve only just begun to use it so— Marshall Kirkpatrick: Awesome, well, let’s stick some of those papers in there and red team it and hit “Find Science” and get other scientific reviews of the claims in the paper, etc. Thanks—it’s so great to be back in touch with you here and not just watch from a distance, but to get to put our heads together like this is a real pleasure. Ross Dawson: Thanks so much, Marshall. The post Marshall Kirkpatrick on cognitive levers, combinatorial possibilities, symphonic thinking, and compound learning (AC Ep39) appeared first on Humans + AI.

Coachella sold out in five days after announcing Justin Bieber as headliner. That's the good news. The bad news? It tells you how hard it's become to book a headline act who can actually move 250,000 tickets for the one of most premiere music festivals in the world.Dave Brooks, a music correspondent at Puck and host of the Decibel and Docket podcast, joins the show to break down the business of festival season 2026. We get into why the biggest artists no longer need Coachella, which festivals are actually profitable, and what's ahead for live music.CHAPTERS07:46 The Bieber Effect08:02 Stadium Money11:50 Why Stagecoach is Different21:13 Lollapalooza23:43 Chris Brown and Kanye WestSPONSORSAll People Powered is a live concert and pitch competition on Saturday, April 11 where three Bay Area founders pitch on stage for $30,000 in real funding. Get your ticket here.Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your , TikTok, YouTube, and more

Slovenský rozhlasový moderátor Roman Bomboš dělal rozhovory se spoustou světových hudebníků, uváděl Eurovizi a v rozhlase tráví třetí dekádu. Teď stojí za velkým symfonickým projektem Depeche Note - Symphonic Tribute. Všechny díly podcastu Host Českého rozhlasu Ostrava můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Now that Wasserman Agency has rebrand itself to "The Team," what's next? Who will lead The Team? Who will the new owner be? What will they do with it? Elsewhere in the talent agency world, CAA has a new managing director for music touring, and UTA's longtime leader has stepped down. Who will lead the next era? I am joined by Ben Sisario from the New York Times to unpack the talent agency business, the leadership and reputational questions surrounding the companies, and what it all signals about succession, private equity, and the future of agency power. CHAPTERS 05:05 Wasserman's Rebrand 08:23 Sale Scenarios 12:52 Margins And Risk 21:16 Why Music Lags 26:08 The Black Box of Talent Agencies SPONSORS Chartmetric: Listen in for our Stat of the Week Linktree: Share music, sell merch, and connect with fans on one simple link. Linktree is the #1 link in bio tool that musicians and artists use to connect fans to everything they do. Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

Produced by Joseph Cottrell, Wayne Hall, Ken Fuller and Jeffrey Crecelius Mark considers the new version of Yes Symphonic Live, from the amazing combination of Anderson, White, Squire, Howe, Brislin and orchestra. Is the new version significantly different to the original? What are the added ingredients? Is it worth the purchase price? Do let us know your thoughts in the comments below. Barry Plummer 2026 Calendar is still available! ORDER HERE Apply £11.00 off with the promo code wh4y4pk3 Enrich your Prog year with iconic images of Yes in the 1970s, taken by the legendary rock photographer, Barry Plummer. Enjoy 12 beautiful colour and black and white photographs of Yes in the studio and live, capturing the essence of the world's greatest progressive rock band. With this limited-edition calendar on your wall throughout 2026, you'll agree that Barry Plummer is, indeed, the Master of Images! (A flat shipping fee will be added at checkout depending on your location.) ORDER HERE Yes - The Tormato Story & Tales from Topographic Oceans - Yes Album Listening Guide Available now! YesMusicBooks.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Aaron SteelmanLindAl Dell'AngeloLobate ScarpBarry GorskyMark BaggsBill WhittakerMark James LangBob MartilottaMark SlaterBrian HarrisMartin KjellbergBrian SullivanMichael HanderhanChris BandiniMichael O'ConnorCraig EstenesMiguel FalcãoDave OwenPaul HailesDavidPaul TomeiDavid HeydenRachel HadawayDavid PannellRobert NasirDavid WatkinsonRobert VandiverDeclan LogueRonnie NeeleyDemScott ColomboDoug CurranSimon BarrowFergus CubbageStephen LambeFred BarringerSteve DillGary BettsSteve LuziettiGeoff BailieSteve PerryGeoffrey MasonSteve RodeGuy DeRomeSteve ScottHenrik AntonssonSteven RoehrHogne Bø PettersenTerence SadlerTodd DudleyThomas DeVriesJohn CowanJohn ThomsonJohn HoldenJohn ViolaJamie McQuinnTim StannardDouglas Caldwell Become a Patron!

If you're seeing this, you might be confused! This is not Smashterpieces, what manner of trickery is this? This is the first episode of Joe's new podcast Pixel Symphonic, it's being dropped onto this feed just this one time in order to make sure it reaches YOUR EARS! We hope you enjoy!—It's time for the inaugural episode of a brand new outing! Pixel Symphonic is a show about video game music. We're here to learn and talk about it with the people who make it, the people who listen to it, and everything in between. This new show will be releasing one episode a month, with a new guest each month.For my first guest it just felt right to bring on my old Original Soundchat cohost Peter Spezia. He may be retired and out of the game now, but there's nobody else in the world I like talking about game music with more. Our conversation goes into how we got into video music through largely the same entry point, and also Peter's favorite soundtrack from his adult years.This episode features music by Nor, Takahiro Nishi, Shogo Sakai, Masaaki Iwasaki, David Wise, Michiko Naruke, Jun Senoue, Nobuo Uematsu, Yuka Tsujioko, Kenji Ito, Jun Ishikawa, Noriyuki Iwadare, Kenichi Nishimaki, Yoko Shimomura, Shoji Meguro, and ACE.

If you're seeing this, you might be confused! This is not Original Soundchat, what manner of trickery is this? This is the first episode of Joe's new podcast Pixel Symphonic, it's being dropped onto this feed just this one time in order to make sure it reaches YOUR EARS! We hope you enjoy!—It's time for the inaugural episode of a brand new outing! Pixel Symphonic is a show about video game music. We're here to learn and talk about it with the people who make it, the people who listen to it, and everything in between. This new show will be releasing one episode a month, with a new guest each month.For my first guest it just felt right to bring on my old Original Soundchat cohost Peter Spezia. He may be retired and out of the game now, but there's nobody else in the world I like talking about game music with more. Our conversation goes into how we got into video music through largely the same entry point, and also Peter's favorite soundtrack from his adult years.This episode features music by Nor, Takahiro Nishi, Shogo Sakai, Masaaki Iwasaki, David Wise, Michiko Naruke, Jun Senoue, Nobuo Uematsu, Yuka Tsujioko, Kenji Ito, Jun Ishikawa, Noriyuki Iwadare, Kenichi Nishimaki, Yoko Shimomura, Shoji Meguro, and ACE.

The Erie Philharmonic is one of Erie's gems, significantly contributing to our quality of life. On Wednesday, Executive Director Bobby Pape joined us to discuss the upcoming 2026-27 Symphonic and Pops Series, along with the remainder of the current season, and upcoming special events.

In celebration of Symphonic Distribution's 20th anniversary under the leadership of Jorge Brea & Janette Berrios, we bring you a special episode of The Future of What featuring the couple alongside our host Portia & her husband Slim Moon! The pairs discuss how they met their partners, as well as the origins of both Symphonic and Kill Rock Stars, touching on the opportunities & challenges of working in the same industry and workplace as your spouse. Jorge & Janette also speak on Symphonic's growth in the Latin market, the company's emphasis on education, and keeping up with new technologies such as AI.

This week, we dive into the brand‑new Yes Symphonic Live box set — a massive 2026 release built around the band's 2001 Magnification tour, featuring Jon, Chris, Steve, Alan, and Tom Brislin backed by a full orchestra. We explore the sweeping arrangements, the emotional lift of the symphonic versions, and how these performances breathe new life into classic Yes.                Yessounds Episode 042 — Symphonic Adventures1.  Overture – Yes (Symphonic Live)2.  Close to the Edge – Yes (Symphonic Live)3. Land's End – Bruford (Gradually Going Tornado)4.  Colors Come Alive – Arc of Life (Don't Look Down)5.  Come By – Fritz Heede (Ritual Path)6.  Starship Trooper – Yes (Symphonic Live) 7.  I've Seen All Good People – Yes (Symphonic Live)8.  The Storm – Rick Wakeman (Journey to the Centre of the Earth)9.  Without You – Asia (Fantasia: Live in Tokyo)10. Ritual [Live] – Yes (Symphonic Live) 11. Spiritual High (State of Independence) Part II – Moodswings (Moodfood)12. Paradox – Steve Howe (Light Walls)13. Long Distance Runaround – Yes (Symphonic Live)

For our first stop, we're off to the ultimate mashup of all time, Morgan Freeman's Symphonic Blues Experience, happening March 27th in Jackson with Mississippi Symphony Orchestra Executive Director, Janet Reihle & blues musician, Keith "The Prince of the Delta Blues" Johnson, then we'll check out what's happening around your neck of the woods, before a final stop in Oxford to celebrate African-American history at this year's U of M Black History Month Concert: Sublime Artistic Creativity Transcends Boundaries, happening February 24th, with Professor of Music, Dr. George Dor, and Program Coordinator, Andrea Drummond. Stay tuned, buckle up and hold on tight for your Next Stop, Mississippi!"What's Happening Around Your Neck of the Woods" Event Listing:Black Art Now: Through the LensBlack History Month ExhibitMississippi Ag & Outdoor Expo 2026FREE Fruit Tree Seminar feat. Gardener Felder RushingLegacy on the Block: Jackson's Day of Cultural LegacyBy Any Means Necessary (A Mini Comedy Special ft. Rita Brent)Songs & Stories: Celebrating the Oral Traditions of Early Gospel MusicWatch this episode on MPB's YouTube Channel: Next Stop Mississippi- Symphonic Blues Experience & Sublime Artistic Creativity Transcends Boundaries Hosted on Acast. See acast.com/privacy for more information.

Steven talks about the rereleased Yes - Symphonic Live set, which comes in vinyl and CD/Blu-ray formats! Photo slideshow included! Order it at https://linktr.ee/YESSymphonicLive

For the past 20 years, subscription streaming has produced an outcome that still gets overlooked. The category winners weren't the big tech giants or the major studios. In music, Spotify became the default. In premium video, Netflix did the same. In this episode, we break down how pure-play focus, faster decision-making, and a single retention-driven scoreboard create compounding advantages that big tech's money and bundling can't easily copy. CHAPTERS 01:03 Why Spotify and Netflix Succeeded 06:13 Pure-Play Edge 10:36 Speed & Ownership 14:29 Survivorship Reality SPONSORS Chartmetric: Listen in for our Stat of the Week Symphonic: Distribute your music to one of the largest networks in the industry. Symphonic delivers your music to over 200 digital service providers ensuring that you're monetizing every stream and use of your music on Spotify, TikTok, YouTube, and more TRAPITAL Where technology shapes culture. New episodes and memos every week. Sign up here for free.

Florence Price: Sonata for Piano in E minor by Clipper Erickson Clippererickson.com Florence Price: Sonata for Piano in E minor! Clipper Erickson brings commanding insight to Florence Price's 1932 Wanamaker Prize-winning masterpiece. Symphonic in scope yet tightly woven, the sonata draws its poewr from the fusion of grand Romantic form with the melodic and rhythmic language of African American spirituals and dance. Erickson illuminates every nuance of Price's writing, revealing its vitality, lyricism, and structural ingenuity. Clipper Erickson, Pianist, Soul, Passion, Color, and Spirituality. Throughout his long career, Clipper has sought to uplift the music of under-represented voices in classical music, both old and new, alongside the great works of the past. His artistry continues to receive international critical accaim through recordings and performances in major concert halls. As a musical explorer and educator, he shares his insight and love through commentary along with performance.

Engel, Atro, Vega y Coreallan en micrófonos para una charla chidilla y variada donde comentamos anuncios que emocionan a los fans, espectáculos masivos y una reseña que está dando de qué hablar. 🎼 Temas del episodio: El anuncio de Las Guerreras Mágicas: Symphonic Suite y lo que representa para el fandom 🏈 El medio tiempo del Super Bowl 60: show, impacto y opiniones 🎬 Reseña de Help: qué nos pareció y por qué está generando conversación Análisis directo, cotorreo y comentarios al estilo Los Inmamables. #podcast #LosInmamables #SuperBowl60 #GuerrerasMagicas

Damon gets to talk to Will about the St. Louis Symphony, education, triangles, North Carolina, getting a gig and much more! There's also segments like gig alerts, music news and others. 

After noticing artists spending more than they were getting at agencies, Danny Garcia developed SongTools to let music creators take control of their marketing campaigns via playlisting and ad tools. Though originally delivered primarily to artists themselves, SongTools has expanded to integrate within distribution platforms, producing success for partners like Symphonic where they drove a 70% client retention rate within 30 days. Here, Danny discusses the approach SongTools is taking to educate artists, how their playlisting ecosystem works & why it is important, along with how the platform navigates the influx of Gen AI music.

Superb melodic and Symphonic progressive rock every week. With CD Giveaways and album reviews.

Bob Cesca joins us for an interview to talk about the art for the rerelease of Yes' Symphonic Live, which you can order here: https://linktr.ee/YESSymphonicLive Bob Cesca has also done the art for Yes' Magnification (even mentioning an upcoming reissue of it), Alt.Music.Yes collaborative album Cyberian Khatru, and Conspiracy's The Unknown.

Listen on Spotify: https://open.spotify.com/album/5zmJHWXwl39DLD8bjyP3UP Listen on Apple Music: Here is episode number 10 of Phil Langham's residency of his trademark symphonic breakdown mixes for Uplifting Only. Close your eyes, relax, and enjoy! Vote!: www.abora-recordings.com/vote/ TRACKLIST (for times, listen on Spotify or Apple Music): [See Spotify for Tracklist.] Tracklist will be added here later. Webpage to be posted later.

Fluent Fiction - Danish: From Stage Fright to Stardom: Axel's Symphonic Triumph Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2025-12-15-08-38-20-da Story Transcript:Da: Vejen snoede sig gennem det danske vinterlandskab, dækket af et hvidt tæppe af sne.En: The road wound through the Danish winter landscape, covered with a white blanket of snow.Da: Axel sad ved siden af Freja i bilen, og skovene omkring dem så ud til at strække sig uendeligt.En: Axel sat next to Freja in the car, and the forests around them seemed to stretch endlessly.Da: Luften var frisk og fyldt med duften af grantræer.En: The air was fresh and filled with the scent of pine trees.Da: Det var juleferie, og hvert hus, de passerede, var pyntet med lys og dekorationer.En: It was Christmas vacation, and every house they passed was decorated with lights and decorations.Da: Axel var nervøs.En: Axel was nervous.Da: Skolens musikalske konkurrence nærmede sig, og hans hænder rystede ved tanken.En: The school's musical competition was approaching, and his hands trembled at the thought.Da: Han var en talentfuld pianist, men scenefrygt havde altid været hans største modstander.En: He was a talented pianist, but stage fright had always been his biggest adversary.Da: Freja, hans bedste ven, sad ved rattet.En: Freja, his best friend, was behind the wheel.Da: Hun vidste, hvad denne konkurrence betød for ham.En: She knew what this competition meant to him.Da: "Vi er der snart," sagde Freja med et opmuntrende smil.En: "We're almost there," said Freja with an encouraging smile.Da: De var på vej til en lille, hyggelig hytte, hvor Axel kunne øve uden forstyrrelser.En: They were on their way to a small, cozy cabin where Axel could practice undisturbed.Da: "Dette vil hjælpe dig med at finde din ro, Axel."En: "This will help you find your calm, Axel."Da: Axel nikkede og kiggede ud af vinduet.En: Axel nodded and looked out the window.Da: Han spekulerede på, hvordan han kunne klare sig mod Lars, klassens konkurrent, der altid stræbte efter at være den bedste.En: He wondered how he could measure up against Lars, the class rival who always strove to be the best.Da: Men i Frejas tilstedeværelse følte Axel sig en smule modigere.En: But in Freja's presence, Axel felt a bit braver.Da: Da de nåede hytten, blev de mødt af en smuk udsigt.En: When they reached the cabin, they were met with a beautiful view.Da: Sneen lå tungt på de høje træer, og alt var stille og fredfyldt.En: The snow lay heavily on the tall trees, and everything was quiet and peaceful.Da: Freja tændte op i pejsen, og snart fyldte en hyggelig varme rummet.En: Freja lit the fireplace, and soon a cozy warmth filled the room.Da: Axel satte sig ved klaveret, der stod i det lille hjørne.En: Axel sat down at the piano in the little corner.Da: Han spillede forsigtigt, og tonerne fyldte hytten.En: He played cautiously, and the notes filled the cabin.Da: Dagene gik, og Axel fortsatte med at øve.En: Days passed, and Axel continued to practice.Da: Freja sad ofte ved siden af ham, tilbød råd eller lyttede bare.En: Freja often sat beside him, offering advice or just listening.Da: Hendes støtte fik Axel til at føle sig bedre tilpas.En: Her support made Axel feel more comfortable.Da: Han besluttede sig for at spille et nyt stykke, noget mere udfordrende som han havde arbejdet på i hemmelighed.En: He decided to play a new piece, something more challenging that he had been working on in secret.Da: Den store dag kom, og Axel stod bag scenen.En: The big day arrived, and Axel stood behind the stage.Da: Han kunne høre publikums summen og mærkede nervøsiteten stige.En: He could hear the murmur of the audience and felt the nervousness rising.Da: Lars havde allerede optrådt og vundet stort bifald.En: Lars had already performed and received great applause.Da: Axel tog en dyb indånding.En: Axel took a deep breath.Da: Han kunne vælge det sikre stykke eller risikere alt med det nye.En: He could choose the safe piece or risk everything with the new one.Da: Da det blev hans tur, gik Axel frem til klaveret.En: When it was his turn, Axel stepped up to the piano.Da: Han så ud over publikum og fangede Frejas smilende ansigt.En: He looked out over the audience and caught Freja's smiling face.Da: Det gav ham styrken.En: It gave him strength.Da: Han valgte det nye stykke.En: He chose the new piece.Da: Musikken flød ud, og hver tone blev spillet med en selvtillid, han aldrig før havde følt.En: The music flowed out, and every note was played with a confidence he had never felt before.Da: Han lod sig selv opsluge af rytmen og melodien.En: He let himself get absorbed in the rhythm and melody.Da: Ved slutningen af stykket var der et øjebliks stilhed, før publikum brød ud i et stort bifald.En: At the end of the piece, there was a moment of silence before the audience erupted in a huge applause.Da: Dommerne annoncerede resultatet: Axel og Lars delte førstepladsen.En: The judges announced the result: Axel and Lars shared first place.Da: Axel kunne næsten ikke tro det.En: Axel could hardly believe it.Da: Hans hjerte svulmede af stolthed.En: His heart swelled with pride.Da: Senere stod han med Freja ved sin side.En: Later, he stood with Freja by his side.Da: Sneen faldt blidt omkring dem.En: The snow fell gently around them.Da: "Du klarede det, Axel!"En: "You did it, Axel!"Da: sagde Freja begejstret.En: Freja said excitedly.Da: Axel nikkede og smilede.En: Axel nodded and smiled.Da: Han havde lært, at det at skubbe sig selv ud over sin komfortzone kunne føre til store ting.En: He had learned that pushing himself beyond his comfort zone could lead to great things.Da: Han var ikke længere bare en genert pianist.En: He was no longer just a shy pianist.Da: Han var en vinder med nyfundet selvtillid.En: He was a winner with newfound confidence. Vocabulary Words:wound: snoede sigblanket: tæppeendlessly: uendeligttrembled: rystedestage fright: scenefrygtadversary: modstanderencouraging: opmuntrendecabin: hytteundisturbed: uden forstyrrelserbraver: modigerequiet: stillefireplace: pejscautiously: forsigtigtchallenging: udfordrendesecret: hemmelighedmurmur: summenapplause: bifaldconfident: selvtillidabsorbed: opslugtemelody: melodiensilence: stilhedannounced: annonceredepride: stolthedpushing: skubbecomfort zone: komfortzonewinner: vindernewfound: nyfundetlandscape: landskabscent: dufttalented: talentfuld

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Concerts at the Cedar Cultural CenterRenee Vaughan, who plays the Swedish folk instrument the nyckelharpa, recommends a concert on Friday that will bring a mix of musical holiday folk traditions.Red Thread will perform along with Minneapolis and Duluth-based folk band Ponyfolk, Friday at 8 p.m. at the Cedar Cultural Center in Minneapolis.Renee says: Red Thread is fronted by one of my absolute favorite singers, Sarah Larsson, with her lush, warm voice, coupled with these incredible harmonies, and it's mixed with a deep love of cultural lineage. Their music spans from Yiddish and klezmer and Slavic, Scandinavian, Irish, English and American winter traditions, and they'll be sharing the stage with Ponyfolk. They're able to have this folk sound that creatively blends folk and rock and jazz and Nordic influences. I'm sure there'll be opportunities to get up and move, but you can also sing, and it'll be like this lovely musical quilt covering the audience.— Renee VaughanWhile you're looking at the Cedar website, musician Leslie Vincent recommends you check out a performance there on Sunday at 2 p.m. by Ben Cook-Feltz, with Ann Reed and Zippy Laske.Leslie says: He's an INCREDIBLE singer and performer. His “Holiday Shindig” is coming up on December 14 and features lots of my other favorite performers in town, including Zippy Laske, who I'm obsessed with.— Leslie VincentA musical classic in RochesterVoiceover actor Rebecca Brokaw-Sands is excited to see Rochester Repertory Theatre's production of “Little Women: The Musical” this weekend. Based on the classic story by Louisa May Alcott, the musical follows the four March sisters from childhood to adulthood. The remaining performances are tonight through Saturday at 7 p.m. and Sunday, Dec. 14 at 2 p.m.Rebecca says: “Little Women” itself is a fantastic, heartwarming story that focuses on family and dreams and hope and following your own path, even when it's not the one that others would have chosen for you or the one that seems traditionally laid out by society.The music is fantastic and supported very well by the voices in this cast. Amber Feind as Jo knocks it out of the park.— Rebecca Brokaw-SandsSymphonic celebration in Grand ForksStacy Bach is a band director at East Grand Forks High School, and she suggests coming back to her school's auditorium this Sunday at 2:30 p.m. for the Greater Grand Forks Symphony Orchestra's Yuletide Concert. Expect holiday favorites, including Tchaikovsky's “Nutcracker Suite,” plus classic carols that invite the audience to sing along. The winner of the Young Artist Concerto Competition will also be featured.

Anton Arensky - Symphonic ScherzoRussian Philharmonic OrchestraDmitry Yablonsky, conductorMore info about today's track: Naxos 8.570526Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Joseph Marx - Symphonic Night MusicBochum Symphony OrchestraSteven Sloane, conductorMore info about today's track: Naxos 8.573831Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

This week, we're headed back to the California Theatre for their annual symphonic concert featuring a bewitching Broadway set. Join us as we chat with executive artistic director Robert Massey about what Symphony San Jose has to offer those who are longtime symphony lovers or those who've never been and what to look forward to!

Learn how Dr. Kathy Martin climbed the invisible ladder to the top of her profession.

On this week's Lin. Woods Gospel Entertainment Podcast, I sit down with an extraordinary guest — a gifted Music Composer whose journey has taken him from the church house to some of the world's biggest stages, Leon Lacey.He shares his inspiring path — from his gospel roots and church beginnings, to composing music for the hit TV series The Chi, to contributing to Beyoncé's unforgettable concert in Dubai. Through it all, he reminds us why faith and gospel music remain the heartbeat of his life and career.And that's not all! He gives us an inside look at his upcoming highly anticipated Black Tie Cinematic Symphonic in Los Angeles featuring an all-star lineup of gospel powerhouses: Yolanda Adams, Hezekiah Walker, Tye Tribbett, Israel Houghton, and more.You don't want to miss this exclusive conversation filled with inspiration, behind-the-scenes stories, and powerful lessons about walking in purpose and staying true to your calling.Listen and subscribe now to the Lin. Woods Gospel Entertainment Podcast on Podomatic, Apple Podcasts, Spotify, iHeart, or wherever you get your podcasts.#LinWoodsGospelEntertainmentPodcast #MusicComposer #TheChi #Beyonce #YolandaAdams #HezekiahWalker #TyeTribbett #IsraelHoughton #GospelMusic #FaithAndMusic #LeonLacey #BlackTieCinematicSymphonic

Music includes: Pomp and Circumstance March #4 by Edward Elgar, Ruins of Athens march by Beethoven, March from the English Folk Song Suite by Ralph Vaughn Williams, the Nutcracker March by Tchaikovsky and the Guadalcanal March by Richard Rodgers and Richard Russel Bennett. Conducors include: Arturo Toscanini, Arthur Fiedler, Thomas Beecham and Henry Wood.