Podcasts about tchaikovsky

The American director and choreographer Kathleen Marshall has been nominated for nine Tony awards, winning three times for Broadway productions of Wonderful Town, The Pajama Game and Anything Goes. She was the first woman to complete a trio of achievements - directing a play, directing a musical and choreographing a musical on Broadway.She also won an Olivier Award for her 2021 production of Anything Goes in London. It was the first big musical to open after numerous Covid lockdowns, and received an ecstatic welcome from audiences and critics alike, hungry to get back into a theatre and enjoy a hugely uplifting show. More recently she has directed Irving Berlin's Top Hat in Chichester. Her musical choices include Mozart, Chopin, Tchaikovsky and Duke Ellington.

Donald Macleod explores Tchaikovsky's life away from home. He spent significant parts of his peak years travelling or staying with friends, and a remarkable amount of his music was composed whilst staying with friends, on holiday or concert tours, or sometimes as a fugitive on the run. This evolved into a full decade of rootless wandering, which is peculiar given his frequent homesickness for Russia.Music Featured: Overture in C Minor Symphony No 1 in G Minor, Op 13, "Winter Daydreams" Cherevichki, Op 4 Symphony No 2 in C Minor, Op 17, "Little Russian" Piano Concerto No 1 in B-Flat Minor, Op 23 Eugene Onegin, Act III Scene 2, Onegin! Ya togda molozhe Swan Lake, Avt IV (excerpt) Symphony No 4 in F Minor, Op 36 Suite No 1 in D Major, Op 43 6 Romances, Op 38, No 6, Pimpinella (arr. E. Firsova) The Maid of Orleans, Op 4, Act I, Aria: Da, chas nastal - Ja, es ist Zeit … Lebt wohl, ihr Berge Capriccio Italien, Op 45 Mazeppa: Act II, Scene 2, O, Mariya, Mariya! (Mazepa) Vesper Service, Op 52 Les saisons (The Seasons), Op 37a Fantaisie de Concert in G Major, Op 56 Piano Trio in A Minor, Op 50 Suite No 4 in G Major "Mozartiana" Op 61 Manfred Symphony, Op 5 Symphony No 5 in E Minor, Op 64 The Queen of Spades (Pique Dame), Op 68: Act I Scene1 (excerpt) String Sextet in D, Souvenir de Florence, Op 70 The Nutcracker, Op 71: Act II Tableau 3: Dance of the Sugar-Plum Fairy Symphony No 6 in B Minor, "Pathétique" Op 74Presented by Donald Macleod Produced by Iain Chambers for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Pyotr Il'yich Tchaikovsky (1840-1893) https://www.bbc.co.uk/programmes/m002ftltAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

How to Name Your Little All Star with Scott Rubin  In this episode of the "Helping Families Be Happy Podcast," host Adina Oberman welcomes guest Scott Rubin, an author and toy collector. Scott discusses how his journey into writing baby naming books began with personal experiences during his wife's pregnancy. The conversation focuses on his books "Naming Your Little Geek" and "Naming Your Little All-Star," which cater to parents interested in names related to geek culture and sports, respectively. Scott shares the process and extensive research involved in creating these thematic naming books, highlighting inspiring stories behind some names.  Episode Highlights  00:00:09: Introduction to the Helping Families Be Happy Podcast, hosted by Adina Oberman, and guest intro of Scott Rubin.  00:01:22: Scott expresses his excitement to be part of the podcast.  00:01:24: Discussion on Scott's journey and process behind creating his books on baby names inspired by geek culture and athletes.  00:03:37: Insight into Scott's love for research and extensive process in compiling names for his books. 00:04:45: Exploration of unique names and stories about athletes from around the world, including those in Paralympics and eSports.  00:07:00: Enriching stories about athletes like Chuck Vinci and the journey behind their names. 00:09:53: The contrast between mainstream athletes like Tiger Woods and the discoveries made about lesser-known athletes.  00:12:12: Scott talks about different social perceptions of naming and its uniqueness, and his approach to naming his own children.  00:15:15: Adina shares a powerful message from a children's book about the significance of personal names.  00:16:27: Details on how to connect with Scott Rubin via social media.  00:16:59: Closing remarks and thanks to Famis for supporting the podcast.  Key Takeaways  Baby names carry significant emotional weight and can reflect cultural, personal, or thematic values. Unique names can offer children individuality and a connection to their family's creativity and identity. Parents can benefit from exploring thematic naming books for deeper stories and meanings behind names. Comprehensive research enriches thematic books, offering insights into names beyond traditional lists.  Tweetable Quotes  "A name is a gift. When you get a gift, you can do whatever you want with it." – Scott Rubin "For both of my children, I was like, you know what? I want to give them more options." – Scott Rubin "If they can learn to say Tchaikovsky, they can learn how to say your name." – Adina Oberman  Show Notes by Barevalue.

Even after I publish a Countermelody episode on a favorite singer, I continue to collect material on them, which I then occasionally fold into a potpourri episode of vocal and musical delights. I have dubbed such episodes part of my “Rescue Mission” series and I'm tempted to call today's episode I'm tempted to call “Friend Edition” (even though there are several good friends I've made in recent years who are not represented today). Be that as it may, I do love putting out such episodes, especially as it gives new listeners some idea of the range and depth of the podcast, and the joys of dipping into Countermelody's back catalogue. For today's episode I spread the net particularly wide, and in some cases went way back into my archives so present you with some rarities which I have programmed in such a way to take us from the despair and confusion that many of us are feeling right now into a place of both resolution and resolve to keep holding on and fighting for what is right. Today's setlist includes many Countermelody favorites: tenors George Shirley, Peter Pears, and Jerry Hadley; baritones William Parker and Jorma Hynninen, mezzo-soprano Maureen Lehane; and sopranos Eleanor Steber, Carol Neblett, Sarah Reese, Anne Wiggins Brown, Veronica Tyler, Annabelle Bernard, Denise Duval, Lois Marshall, Gloria Davy, and April Cantelo; with appearances by other great singers who have not yet been featured in full episodes, including Franco Corelli, Sandra Warfield, Helen Watts, Émile Belcourt, Valerie Masterson, and, in memoriam, Béatrice Uria-Monzon. We hear music from César Franck, Ottorino Respighi, Johann Sebastian Bach, Giacomo Puccini, Pyotr Il'yich Tchaikovsky, Franz Schubert, George Gershwin, Gioachino Rossini, Leonard Bernstein, Coleridge-Taylor Perkinson, Emmanuel Bondeville, and Giacomo Meyerbeer. As always, queer artists and artists of color are prominently featured, as one of my objectives in producing this podcast is to foreground such historical artists as essential to our growth and self-awareness. If you're just getting to know the podcast, this is as good a place to start as anywhere! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Here's our question for today: what makes a piece of music a “harp piece”?  Does it have to have been originally written for harp? Or composed by a harpist? Or could any piece of music, no matter what instrument or instruments it was written for, be a harp piece if you play it on the harp? I happen to think that the third answer is the correct one. Mostly. Let me explain. If you play a piece on the harp, it has absolutely become a harp piece whether it started out that way or not. But that doesn't necessarily mean that it should have become a harp piece. Some pieces just don't work on the harp. Take the “1812 Overture,” for example. This piece was written by Tchaikovsky to commemorate Russia's victory over Napoleon. It's 15 minutes long, It requires a full symphony orchestra (minus a harp), an additional brass band, a bell carillon and a battery of cannons - yes, cannons. How could a single harp play a meaningful rendition of this monster work? You could play some of the themes from the piece. You could shout “BOOM” when the cannons are supposed to fire. No matter how hard we try, though, it will never really sound like the original. Okay, that's an extreme example. However, we harpists are known for borrowing music liberally from the piano repertoire. While that's a good idea in general - after all, the harp and piano have a lot in common - some piano pieces never make good harp pieces, even when the piece translates easily from piano to harp. Sometimes, something gets lost in the translation. So what makes a piece of music a harp piece? What are the essential qualities and the specific characteristics that identify a piece as being written for harp, or that, on the flip side, mark it as definitely not a harp piece? Today, we will talk about those characteristics and how you can use them to spot pieces that might, or might not, be good ones to transpose or arrange for harp. This information will also be very useful when you're playing someone else's arrangement, and I'll tell you why in just a minute. Links to things I think you might be interested in that were mentioned in the podcast episode:  Check out our brand new courses in the Harp Mastery® app!  We're halfway through our Super Summertime Challenge. Are you in? Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com   Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-218  

Cape Town City Ballet's production of Tchaikovsky's famous ballet Swan Lake opens at the CTICC this week.  Dancing the role of Odette is the South African ballerina Kirstel Paterson who has enjoyed a hugely successful career and has won numerous prestigious awards.  Rodney trudgeon spoke to Kirstel on People Of Note this week to find out about her career and about the role in Swan Lake.

The baton has dropped. The overture nears its end, but you still have time to catch the musical magic that is the 39th annual Music in the Mountains Festival through Aug. 3. By Deborah Uroda.Watch this story at www.durangolocal.news/newsstories/music-in-the-mountains-crescendos-toward-aug-3-finaleThis story is sponsored by Durango Motor Company and Dunkin Donuts.Support the show

Hosť podcastu: Prof. JURAJ MALÍČEK, teoretik popkultúry, pedagóg Čo ak by bol pavúk inteligentný a vyvíjal sa ako človek? Aj to je sci-fi Deti času od Adriana Tchaikovskeho. O čom je príbeh, prečo siahol autor práve po spoločenstve pavúkov a ako rozpracoval ich filozofiu, život, pravidlá? Opisy pavúčieho sveta sú veľmi autentické, fascinujúce. Tchaikovsky skúma aj Fermiho paradox – ako sa mu to podarilo? Prečo sa vesmírna archa volá Gilgameš a akú to má symboliku? Na záver číta úryvok z knihy Peter Sklár. 

To call conductor Jessica Bejarano an outlier in the American orchestral world is a mild understatement. Not only is she female at a time when there are still astonishingly few female conductors of professional orchestras — according to Women's Philharmonic Advocacy, in the 2024-25 season, only 20.8% of concerts by the top 21 orchestras in the U.S. were conducted by women, and today only one of the 25 largest American orchestras has a female music director — but she is also Latina and lesbian. When Jessica Bejarano steps onto the podium, therefore, she doesn't just conduct; sporting visible tattoos — her favorite conductor Tchaikovsky is prominently featured on her right forearm — and projecting a down-to-earth warmth and grit she learned from her immigrant mother in working class East L.A., she redefines what leadership can look like in the orchestral world.By 2019, Jessica was already building a solid resume, leading community orchestras in the Bay Area as well as accepting freelance directing gigs around the world. Continually faced with the glacial pace of change in the classical music world, however, she took a leap of faith and founded her own ensemble, the San Francisco Philharmonic. The SF Phil's mission is to center diversity, equity and inclusion not just as a tagline but as a lived experience for musicians and audiences alike. In the last six years, under her leadership, the SF Phil has collaborated with everyone from Grammy-winning composers to local rap icons, while also offering masterclasses for emerging conductors and commissioning new works by underrepresented composers. In this interview, Jessica shares the winding, impassioned path that led her from East L.A. trumpet player to visionary conductor and founder. She discusses how she built the SF Phil from scratch — including funding its first concert out of her own savings — and how she continues to push the boundaries of what a 21st century orchestra can be.https://www.sfphil.org/about

Six Massachusetts National Guard soldiers will fire the cannons at the end of Tchaikovsky's 1812 Overture, the finale to the Boston Pops Fireworks Spectacular. The cannons have only about 20 seconds in the spotlight, but Sgt. Matthew Jodoin says it takes a lot of practice.

The season opens with Giancarlo Guerrero's debut as music director designate, featuring violinist Vadim Gluzman in Tchaikovsky's Violin Concerto, and Dvořák's beloved New World Symphony.

Eric Silberger is a virtuoso violinist. He's a winner of the Tchaikovsky Competition. He's a soloist, recitalist and chamber musician. He's performed all over the world at the most prestigious venues and festivals, including the London, Mariinsky, San Francisco and St. Petersburg orchestras and with Itzhak Perlman. He's the co-founder of the Hawaii International Music Festival. And he's an avid producer and recording engineer. My featured song is “The Gift”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH ERIC:www.ericsilberger.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Depois do terror, segundo ouvi dizer, as crianças aprendem a ver no escuro. É uma espécie de talento que nasce da necessidade de controlar a proliferação de imagens que o medo nos sugere. São cineastas dessa circunstância intolerável. Porque o escuro admite o pior. Da mesma forma há quem fale consigo mesmo, procure uma ordem qualquer de que se possa ocupar, às vezes retoma uma conversa mal resolvida, responde a alguém, confronta uma e outra vez o seu exausto repertório de truques, vai buscar cenas, planos de filmes e investiga tudo aquilo que sem se ter dado conta aprendeu de cor, a posição de cada objecto, que agora adquirem uma estranha densidade, um peso extraordinário. Saber convocar o sono é um dom, combater uma circunstância desfavorável, escavar um túnel a partir da cela do tédio. Era assim que Cyril Connolly explicava a necessidade da arte, defendendo que esta “é a tentativa mais nobre do homem para preservar a Imaginação do Tempo, para fabricar brinquedos mentais inquebráveis, bolos de lama que durem”… O cinema é um assunto das infâncias que mais foram obrigadas a escarafunchar certas feridas, a aguentar a imensa desolação da realidade, sobretudo para quem tem uma natureza atenta. O cinema é esse território dos mudos, dos que aprendem o valor de um enquadramento, de uma sequência, dos cortes, da montagem. Os que se deram ao trabalho de fazer do olhar uma lição de história. Se a uma criança, quando lhe perguntam o que quer ser quando for grande, nunca ouvimos a resposta – “Vou ser crítico de cinema” –, como notou, certa vez, François Truffaut numa entrevista, talvez isso se explique por estar longe de supor que haja outros que não precisam de mais estímulos, pois fizeram da memória o seu projector, e tiram prazer de fazer do cinema o motivo de longas exposições, conversas infinitas. São muitos, na verdade, os que se encontram na mesma situação, consideravelmente treinados desde crianças a ver filmes, a pensar sobre eles e, mais tarde, com os anos, ao encontrarem a sua tribo, a falar deles, a discorrer durante horas sobre cada detalhe, mas depois, até por esse excesso, são incapazes de passar para o outro lado, ter a audácia ou a veleidade imbecil de fazer um filme. Há uma espécie de erudição culpada, que em vez de iluminar, pesa intimamente. Em vez de se transformar num balanço atrevido, acumula-se como dívida, pede imensas desculpas, retira-se. É o saber do crítico que lê demais, vê demais, anota demais — e escreve de menos ou escreve como se estivesse sempre a dever explicações. É um saber que se constrange, que se encurva. Em vez de cortar na carne da obra, contorna-a com aparato técnico, com um dicionário em punho e medo de parecer ingénuo. Esquece, assim, que a verdadeira erudição é leve, ofensiva, cortante. Esta é a condição do espectador que perdeu a inocência e, com ela, a coragem de errar, de improvisar, de sentir sem aparato. Guillermo Cabrera Infante fala-nos de um crítico que sentia necessidade de atafulhar cada texto de um tal excesso de referências que, para lá do alarde da erudição, lhes emprestavam uma morbidez própria de quem gosta de arrastar cadáveres ou trocar restos entre túmulos, fazer combinações bizarras nas horas de tédio em que lhe é dado zelar por um desses arquivos que aguardam a completa digestão das larvas. Vale a pena reproduzir o texto… “Caín gostava de fazer frequentemente um grande alarde erudito. A sua erudição chegava ao ponto de dizer que H. C. Robbins Landon estava a completar o catálogo total da música de Haydn; que Tchékhov conheceu Tchaikovsky em São Petersburgo, no início de Dezembro de 1888; que a modelo preferida de Delacroix se chamava Émilie Robert; que, se o jazz nasceu nos bordéis de Nova Orleães, foi a ordem da Secretaria da Marinha norte-americana, em 1917, ao encerrá-los, a ocasião para a sua difusão e desenvolvimento posterior. Etc. Parece-me que Caín encontrava estas citações ao acaso, nas suas leituras caóticas e, por isso mesmo, múltiplas, e que as ia anotando nas críticas à primeira oportunidade, viessem ou não a propósito. Um dia disse-lho. A resposta dele deixou-me gelado (tão gelado que, se tivesse tido sabor, não estaria aqui a contar isto: estávamos à porta de uma escola), porque respondeu-me com uma citação de Chesterton: ‘Afinal, creio que hoje não me vou enforcar', foi o que disse.” Onde queremos chegar? Essa costuma ser uma interrogação bastante cruel. Talvez ainda seja o mesmo problema do início, a criança que faz filmes para si, inventa o cinema para não ser absorvida pelo escuro. Neste episódio, vamos traçar um percurso entre esse desejo de ser encantado, entre a descoberta do cinema como arte produtora de uma memória defensiva, e um enredo formidável de correspondências, imagens que nutrem uma espécie de sistema imunitário e de resposta da imaginação contra circunstâncias infamantes. Nessa linha que vai de um cinema paraíso à degenerescência dos que só conseguem tratar as fitas como oportunidades para levarem a cabo processos de dissecação, contámos desta vez com Beatriz Silva Pinto, que além de trabalhar no Cinema Batalha, tem uma relação empenhada com esta arte, e uma perspectiva pouco cínica das possibilidades de expansão que nos oferece, desde logo enquanto antídoto face à dissolução das comunidades, e ao retrocesso dos espaços de encontro e resistência a um quotidiano cadaveroso.

Imagine a world where you're Russian, gay, and happy about it.No this is not propaganda from the ultra-secret "Pinko" department of the Kremlin (they def have one of those).This is the very real story of the magnificent Pyotr Ilyich Tchaikovsky, one of the world's greatest composers and a big old homosexual.He wrote the 1812 Overture, The Nutcracker, and the world's gayest violin concerto (because it's "exuberant"). He also did Swan Lake, by the way, so perhaps most importantly, we wouldn't have Natalie Portman calling herself a WHORE on a mirror in red lipstick without him.This week, Bash is joined by Princeton professor of music history Simon Morrison — author of Tchaikovsky's Empire — to explore what it meant to be gay (and fabulous) in 19th-century Russia. Together, they dismantle the myth of the tortured, closeted genius and paint a much queerer, more joyful picture of Tchaikovsky's life.

It's a family affair on this week's episode. Orli Shaham guest hosts with her brother violinist Gil Shaham. We meet a handful of siblings who share the joy of making musical memories together and hear performances of Tchaikovsky and Jessie Montgomery.⁠Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Consider a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenThe teenage Grigory Sokolov's recordings of the Tchaikovsky 1st and Saint-Saëns 2nd Concertos reveal how this gifted pianist already was "Sokolov" at such a tender age - everything is there: the impeccable technique, utmost control of sonority and balance, and almost scientific awareness of his instrument's mechanical and expressive potential.Here are links to the performances:https://www.prestomusic.com/classical/products/9445142--grigory-sokolov-plays-beethoven-chopin-schumann-saint-saens-brahms-tchaikovskyhttps://open.spotify.com/album/62qe7ekY5UygTnFaiNE8RR

Roll over Beethoven, and tell Tchaikovsky that SURFACE NOISE has a FREESTYLE to share with the masses! For this separate stanza, our crew of dedicated sound merchants is still joined by Adam Tiro from The Freight to discuss "Vinyl Myths" - notions (preconceived or other) we have held about record collecting and the hobby in general that have yet to bear the fruit we expected.

Ricky Ian Gordon has written a cycle of songs about flowers. In this episode, we hear one of them. Rachmaninoff wrote a song called “Lilacs.” We hear that, too. Bach opens his Goldberg Variations with an aria (and closes the work with that same aria). Tchaikovsky's wrote a couple of blockbuster arias in The Queen of Spades. And on we go. Gordon, “We should not mind so small a flower” Rachmaninoff, “Lilacs” Bach, Goldberg Variations Tchaikovsky, Lisa's Aria from Act III of “The Queen of Spades” Tchaikovsky, Prince Yeletsky's Aria, Act II, “The Queen of Spades” Tchaikovsky, “It was in early spring” Shostakovich, Prelude in D-flat major Bach-Kempff, Siciliano

Reaching back to the first season of Clear and Vivid, a replay of the July 2018 episode when the violin virtuoso tells Alan why he likes to talk to his audience as well as play for them; why he plays Bach very differently from Tchaikovsky; and why the first time he played the Stradivarius that was to become his 30 years later, “I thought that I'd died and went to heaven.”

In this episode of Hope for the Caregiver, I walk through one of the most practical, personal, and painful issues every caregiver faces: worry. We explore what Jesus really meant in Matthew 6 when He said, “Do not worry about tomorrow…” — and I back the truck up to show how that entire section of Scripture ties together. This is not sentimental. It's hard theology lived out in hospital rooms, operating rooms, and late-night caregiver prayers. I share some deeply personal stories from our ongoing four-month hospitalization: The moment when my wife's surgical wound burst open unexpectedly — and how, even then, worship replaced panic as Gracie sang “In My Leg, Lord, Be Glorified” while medical teams worked. How my dad, near the end of his life, calmed my mother with four powerful words: “Because I know God.” The late-night “Code Gray” in the hospital — and how that inspired my idea of a “Code Grace” for caregivers who are emotionally unraveling. Why daily trust in God is like Tchaikovsky's daily piano practice: if you skip it, everyone notices. We also look at Paul and Silas — bruised, bleeding, shackled — still singing hymns in a Philippian jail. That same peace that passes understanding remains available to us today, even in hospital rooms, financial stress, and medical crises. Worry is real. But so is the sovereignty of God. I challenge caregivers (and myself) to make the intentional choice to trust Christ today — and to leave tomorrow where it belongs: in His capable hands. If you're a caregiver weighed down by fear, this episode is for you.

Conductor John Jeter has been central to the rediscovery and representation of Florence Price's orchestral works. In this podcast, he discusses with Raymond Bisha his latest recording of her piano concerto and her two violin concertos, the only works she composed in the genre. The early First Violin Concerto, with shades of Tchaikovsky and undertones of the blues, stands in contrast to the Second, written shortly before her death, more dramatic, contemporary and compact. The Piano Concerto in One Movement, which Price herself performed, contains some of her most beautiful music set alongside moments of Romantic bravura.

Send us a textWhat's in a name? Everything. Your name is your melody, your lineage, and how your ancestors speak through you. So when someone consistently mispronounces it or, worse, substitutes it with something entirely different, that's not just an honest mistake—it's a choice that speaks volumes.Welcome to this raw, honest conversation about one of the most persistent microaggressions many of us face: name butchering. As your host Jeba Edmonds (not Jabba, not Jebba, and definitely not Jenna) explains, it's 2025, we have advanced AI in our pockets, yet somehow proper name pronunciation remains an "impossible" task for many. The selective difficulty is telling—we can master "Tchaikovsky" and "charcuterie" without hesitation, but diverse names are deemed "too complicated"?This episode unpacks the deeper implications of name mispronunciation, from the subtle erosion of belonging to the exhausting reality many BIPOC individuals face when they feel forced to change their names for professional advancement or simply to avoid constant corrections. We explore how what might seem like small slip-ups to some represent significant acts of disregard to others, especially when those "mistakes" persist after multiple corrections.But this isn't just a critique—it's a heartfelt invitation to do better. Learn practical approaches to honoring people's names correctly, understand why it matters so deeply, and discover how making this simple effort transforms relationships and builds genuine inclusion. Whether you're an educator, manager, or someone who values authentic connections, this episode offers the perspective and tools to ensure everyone's name—and by extension, their identity—receives the respect it deserves.Ready to deepen your understanding? Check out my blog and subscribe to "The Inclusive Educator" newsletter for weekly insights on creating truly inclusive spaces from classrooms to boardrooms. Your journey toward more meaningful, respectful connections begins with something as fundamental as saying someone's name correctly. COME SAY Hey!! Instagram: @cultrallyjebeh_ Facebook: @JebehCulturalConsulting Pinterest: @Jebeh Cultural Consulting LinkedIn: @Jebeh Cultural Consulting Leave a Review on our Podcast! We value your feedback! Follow our Blog Enroll In Our Mini CoursesBuy My eBook: Empowering Your BIPOC Students Enroll In My Digital Course: How To Be A Culturally Competent LeaderBuy My K-12 Lesson PlansSign Up For Our Newsletter Enjoy the Cultural Curriculum Chat podcast? Share the love! Refer a friend to Buzzsprout and both you and your friend will enjoy exclusive benefits. Click the link...

Chicago author from a small Illinois town Margaret Philbrick talks about her back-to-back releases “A Mirror, A Novel of Love, Music & Memory” & “House of Honor-The Heist of Caravaggio's Nativity”! Her first features a teenage piano prodigy seeking victory at the Tchaikovsky Piano Competition in Moscow enlisting the help of a world-renowned pianist becoming a mentor/teacher, fall in in love and discovers if music keeps them together while the second book is about two Italian sons & one woman linked by a masterpiece painting put to the test of loyalty & honor in a riveting tale of betrayal, loyalty and love weaving the threads of art history, the ruthless allure of the Vatican Sicilian clan and the brilliance of Caravaggio (The Godfather meets the DaVinci Code with a twist)! Margaret began her career at 5 gardening, later working in advertising selling Kellogg's Pop-Tarts, Eggo Waffles and cereals, served on numerous boards and winning multiple awards plus shares the stories behind the works! Check out the amazing Margaret Philbrick and her releases on many major platforms and ⁠www.margaretphilbrick.com⁠ today! #podmatch #margaretphilbrick #author #chicago #amirroranoveloflove #musicandmemory #houseofhonor #theheistofcaravaggiosnativity #caravaggio #aritst #painist #tchaikovsky #moscow #vatican #silicianclan #thegodfather #thedavincicode #advertising #kelloggspoptarts #eggowaffles #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnermargaretphilbrick #themikewagnershowmargaretphilbrickBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.

DescriptionThe Nutcracker? No Thanks, Said Tchaikovsky (At First) in 60 Seconds. Take a minute to get the scoop!Fun FactTchaikovsky didn't trust Russian composers not to steal his idea of using the celesta for The Nutcracker, so he had it secretly shipped from Paris. He needn't have worried—now it's hard to imagine Christmas without it. He didn't love the ballet, but the celesta made magic.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

ReferencesNature Metabolism 2019. volume 1, pages 666–675 Tchaikovsky, PI.1880 The 1812 Overture. OP49.https://music.youtube.com/playlist?list=OLAK5uy_lVRQcylf9R3lSO_9G-mVZSheQud2EdUd4&si=ylb7MwXEYywWbRYfMiller, S. 1970. "Never Kill" from Steve Miller Band Vhttps://music.youtube.com/watch?v=5X7F83E5LQA&si=x0RNPn8KbUsincDY

Historic recordings of classical music dances.  Music by Johannes Brahams, William Gluck, Manuel De Fall, George Bizet, Frederic Chopin and Pytor Tchaikovsky.              

While last episode was drowning in information - this week when hunting down mushroom info... it's a bit of a desert.  But no worries, there's still fun stuff to be learned - mainly just what is a mushroom?  And how have humans crossed paths with it - in ways besides tripping out?Also - how is the lack of information and the limited presence of mushrooms in AMerican food related?Some answers are here.Also - The Fantasia clip of Tchaikovsky's "Chinese Dance" will let you see (among other things) open and closed mushrooms - the "li'l-est" one with it's veil more or less intactAlso - that in the 1940's Americans were pretty mushroom cluelessMusic Credit: Fingerlympics by Doctor TurtleShow Notes: https://thehistoryofamericanfood.blogspot.com/Email: TheHistoryofAmericanFood at gmail dot comThreads: @THoAFoodInstagram: @THoAFood& some other socials... @THoAFood

The theatre director Emma Rice is renowned for her bold stagings of much-loved films and books including Brief Encounter, Wuthering Heights and the Red Shoes. For twenty years she worked as an actor, director, and eventually artistic director of Kneehigh, an international touring company based in Cornwall, known for its energetic productions with an inventive use of music and puppetry. In 2016, Emma became artistic director of Shakespeare's Globe, the reconstructed Elizabethan theatre on the south bank of the Thames - although her tenure there ended after two years following disagreements with the board. She has since founded her own touring theatre company, Wise Children, whose recent productions include The Buddha of Suburbia and Alfred Hitchcock's North by Northwest. Emma's musical passions include Tchaikovsky, Rachmaninov, Mozart and Bach.

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

In this week's episode, Patrick and Tommie growl about recent dog attacks in New York City, go hunting with the Hanover Hound, go to the ballet with Tchaikovsky, go to town with Gary Cooper, say farewell to comic actress Ruth Buzzi and singer Jill Sobule, dance the Can-Can with Cole Porter, producer Steven gives a cooking lesson on roast leg of lamb, they get a checkup on the latest measles cases, give a thumbs down to the Supreme Court upholding the ban on trans members of the armed forces, don't know how President Trump doesn't know if everyone in the U.S. is entitled to due process, savor U.S-Swedish meatball diplomacy, Tommie considers running for office, Patrick reviews the comedic mystery A Simple Favor before it disappears from Netflix, Patrick names some heroes of the week, and the men pick their favorite flowers.

Jeff can't thank you all enough for your prayers and wishes for him and his family with the passing of his mother. He would like to thank you with his sincerest apprecitation and gratitude.(2024) National Teacher apprciation day.  Entertainment from 1985.  Lusitania sank from German sub, Largest Pearl found, Largest Swordfish caught,New Orleans founded.  Todays birthdays - Johannes Brahms, Pytor Tchaikovsky, Gary Cooper, Darren McGavin, Robert Hegyes, Eagle Eye Cherry, Breckin Meyer.  Eddie Rabbitt died.Intro - Pour some sugar on me - Def Leppard   http://defleppard.com/Teacher teacher - 38 SpecialWe are the world - USA for AfricaSomebody should leave - Reba McEntireBirthdays - In da club - 50 Cent   http://50cent.com/The cradle song - Brahms1812 overture - TchaikovskyWelcome back Kotter TV themeSave tonight - Eagle Eye CherryI love a rainy night - Eddie Rabbitt

Directly after the disastrous November election in the United States, I compiled a setlist for two episodes self-explanitorially entitled “Mezzos on the Verge” and “Mezzos in Extremis.” One of the featured singers was the great Russian mezzo-soprano Irina Arkhipova, whose 100th birthday on January 2 of this year was one of the few positive things to happen in January! I happened to have a number of LPs featuring Arkhipova, and this episode features material from a number of those records, plus a CD reissue from a few years back entitled “The Art of Irina Arkhipova,” which features the 1970 recording of Mussorgsky and Rachmaninov songs that the singer made in Moscow with my teacher John Wustman while they were judges in that year's Tchaikovsky Competition. Arkhipova is also featured in songs by Tchaikovsky; Russian opera arias by Rimsky-Korsakov and Mussorgsky; and selections from both Carmen and Il Trovatore, which feature tenors Zurab Andzhaparidzye and Vladislav Piavko, the latter of whom was also Arkhipova's protégé (and later husband). Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Music Director Andrew Litton invites us to See the Music in this enlightening introduction to the score for George Balanchine's 1972 ballet, Divertimento from ‘Le Baiser de la Fée.' With superlative accompaniment from Solo Pianist Elaine Chelton, Litton demonstrates the many ways in which Igor Stravinsky's "homage to Tschaikovsky" took inspiration from 16 different piano pieces by the legendary composer to weave an undeniably Stravsinkyian—and danceable, in Balanchine's word—orchestral suite. (11:42):  Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Le Baiser de la Fée (1928) by Igor Stravinsky Le Baiser de la Fée performed by Elaine Chelton

Beethoven, Mozart & Tchaikovsky - Broadcast by CSO Association

For God alone, O my soul, wait in silence, for my hope is from him.- Psalm 62:5 This Episode's Links and Timestamps:00:25 – Scripture Reading02:13 – Introduction16:46 – Commentary on Tchaikovsky's Piano Concerto No. 1in B-Flat Minor, Op.23: I23:15 – Commentary on Psalm 6236:19 – Honest Admissions After Talking About Everything for7 Years50:18 – Baby Names and Legacy-Building with a Capital ‘L' 1:14:21 – The Philosopher-Mechanic Paladin

Welcome to episode 32 of the Prodigies Music Lesson Show for Kids, where Mr. Michael teaches about traditions surrounding Easter, Guides kids through listening to Vivaldi's Spring and Christ the Lord is Risen today with Solfege and Scale degrees, and demonstrates Trills in the musical word wall. Happy Easter! NOTE: This episode contains a brief religious discussion and the Christian hymn Christ the Lord is Risen today. While Prodigies does offer this song, it is not required in the Prodigies core curriculum for public schools.____________________

It was announced months ago that the 5.30am News Briefing would be removed from Radio 4's early morning schedule due to budget constraints, but the changes didn't come into place until the beginning of last week. For some of those who include Radio 4 within their morning routines, the change has been a rude awakening. We hear your reactions to the replacement in this week's episode of Feedback.Since 2021, Add to Playlist has been taking listeners on a voyage of musical discovery through a never ending playlist, added to by the presenters and guests - and it might be the only place on Radio 4 where you can hear Tchaikovsky and Eminem in quick succession. Andrea Catherwood puts your comments about the most recent series to presenters Jeffrey Boakye, Anna Phoebe, and editor Tim Prosser.And we've had a number of different questions in the inbox this week that just need a simple answer from the BBC. We've got answers for you. Presenter: Andrea Catherwood Producer: Pauline Moore Assistant Producer: Rebecca Guthrie Executive Producer: David PrestA Whistledown Scotland production for BBC Radio 4

Dans un contexte de hausse du nombre d'inscrits à France Travail, l'ex-Pôle Emploi innove pour accompagner ses bénéficiaires vers un retour à l'emploi. Dans « La Story », le podcast d'actualité des « Echos », Clara Grouzis est allé en reportage à Grenoble où le dispositif « L'art d'accéder à l'emploi » fait danser les demandeurs d'emploi.Retrouvez l'essentiel de l'actualité économique grâce à notre offre d'abonnement Access : abonnement.lesechos.fr/lastory« La Story » est un podcast des « Echos » présenté par Clara Grouzis. Cet épisode a été enregistré en mars 2025. Rédaction en chef : Clémence Lemaistre. Invités : Lucie Deniau et Isabelle Senet, Jacques-Alex Dorliat, (directeur adjoint régional de France Travail Auvergne-Rhônes-Alpes), Isabelle Raymond (directrice d'agence O2). Réalisation : Willy Ganne. Chargée de production et d'édition : Michèle Warnet. Musique : Théo Boulenger. Identité graphique : Upian. Photo : Ludovic MARIN/AFP. Sons : TF1, Tchaikovsky. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

What's up, dudes? Merry Christmas 2!! “Santa Claus: The Movie” is a fantastic origin story, made better by Henry Mancini's score and a killer song of Sheena Easton. Thus, Robert Nicholas from Behind the Bells joins me to really dig into a particular cue from the “Santa Claus: The Movie” score and dish about the Christmas carol medley of it all as well.First, we get into the nostalgic synths with "It's Christmas All Over the World". Played during the end credits, the mid-tempo song set the stage for the emotions of Christmas, washing over the audience like a warm blanket. Written originally with Freddie Mercury in mind, the song eventually was recorded by Sheena Easton. Likewise, the film also features a track by Aled Jones of "The Snowman" fame.Mancini purposely chose to score and arrange the orchestra as traditionally as possible. Subsequently, his score evoked a sense of wistfulness and comfort, harking back to days of yore. According to an interview with Randall D Larson for CinemaScore in 1987, Mancini stated:"One thing we had to satisfy was that you can't have picture about Christmas or Santa Claus and not touch on the traditional. I decided that it would be a good idea to get all of those numbers in one place, rather than spotting them here and there throughout the film. So on Santa's first flight I used them in a piece by itself, and it all worked out well because the montage was well conceived and it made sense. But from there on we went to original music.”Of course, the piece he was speaking of was "Christmas Rhapsody." The cue begins with a triumphant rendition of Deck the Halls before segueing into Joy to the World. A melodic and intimate version of Hark! The Herald Angels Sing follows, succeeded by The 12 Days of Christmas, God Rest Ye Merry, Gentlemen, and O Tannenbaum. Finally, the cue ends with majesty and serenity with The First Noel and Silent Night.Tchaikovsky-esque instrumentation? Check. Catchy Santa Claus theme? Got it. Synthesizer? Yes, but only if a pop star is singing! So grab your celesta, join the orchestra, and play along to this episode all about the “Santa Claus: The Movie” score and soundtrack!Behind the BellsFB: @BehindtheBellsIG: @behind_the_bells_podcastGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Tchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire's worth of music, and navigated the imperial Russian court to great advantage. In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky's complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred. Morrison reexamines the relationship between Tchaikovsky's music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky's Empire: A New Life of Russia's Greatest Composer (Yale UP, 2024) unsettles everything we thought we knew--and gives us a vivid new appreciation of Russia's most popular composer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Tchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire's worth of music, and navigated the imperial Russian court to great advantage. In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky's complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred. Morrison reexamines the relationship between Tchaikovsky's music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky's Empire: A New Life of Russia's Greatest Composer (Yale UP, 2024) unsettles everything we thought we knew--and gives us a vivid new appreciation of Russia's most popular composer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Tchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire's worth of music, and navigated the imperial Russian court to great advantage. In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky's complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred. Morrison reexamines the relationship between Tchaikovsky's music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky's Empire: A New Life of Russia's Greatest Composer (Yale UP, 2024) unsettles everything we thought we knew--and gives us a vivid new appreciation of Russia's most popular composer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Tchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire's worth of music, and navigated the imperial Russian court to great advantage. In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky's complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred. Morrison reexamines the relationship between Tchaikovsky's music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky's Empire: A New Life of Russia's Greatest Composer (Yale UP, 2024) unsettles everything we thought we knew--and gives us a vivid new appreciation of Russia's most popular composer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

Pyotr Ilyich Tchaikovsky wrote the music for the Nutcracker, the Romeo and Juliet Fantasy-Overture, Swan Lake, Sleeping Beauty, multiple symphonies, several operas, and more. He is among the most popular composers of the 19th century. But as usual he didn't do it alone. He and his friend Nadezhda von Meck had a 13-year correspondence of 1200 letters. They shared (almost) everything with each other, but they never actually … met. Still, Tchaikovsky credited Nadezhda for saving his bank account (many times over), and also his sanity, and even his life. It's safe to say that some of his most gorgeous music would never have been written without Nadezhda. Music for this episode includes licensed music from Pond5 and copyright-free music from Musopen.org. The pieces referenced include: The Nutcracker Suite Romeo and Juliet Fantasy Overture Sleeping Beauty Swan Lake 4th Symphony 6th Symphony Visit the website (herhalfofhistory.com) for sources, transcripts, and pictures. Support the show on my Patreon page for bonus episodes, polls, and a general feeling of self-satisfaction. Or make a one-time donation on Buy Me a Coffee. Join Into History for a community of ad-free history podcasts plus bonus content. Visit Evergreen Podcasts to listen to more great shows. Follow me on Threads or Instagram as Her Half of History. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Dr. G and Naz Perez engage in a candid and wide-ranging conversation, exploring topics from hormonal health and gut issues to the emotional impact of community and movement therapy. They dive into the intersection of anxiety, the vagus nerve, and holistic well-being while also discussing the evolving entertainment industry, the role of AI, and personal experiences as a Latina in media. The conversation takes a metaphysical turn with discussions on alien activity, human evolution, and consciousness. Throughout, Dr. G and Naz share insights, personal growth stories, and thought-provoking perspectives, making for an enlightening and dynamic discussion. #wellness #spirtuality #podcast Naz Perez Instagram @NAZPEREZ === Thanks To Our Sponsors! Timeline Visit https://timelinenutrition.com/drg and use code DRG to get 10% off OurPlace Visit https://fromourplace.com and use code DRG to receive 10% off. Birch Click here https://birchliving.com/healthyself to get 20% off your Birch mattress plus two free pillows. === Show Notes: Discussion of hormone imbalances and estrogen dominance Exploration of gut health issues including SIBO and IMO The connection between anxiety, gut health, and the vagus nerve Importance of testing hormone levels in conventional medicine Using movement and dance as therapy Processing emotions through music (classical music for sadness, Tchaikovsky for anger) Impact of community on personal health and wellness Discussion of emotional repression (anger in women, sadness in men) Changes in the industry due to social media and AI Future of creative work and authenticity Movie recommendations Personal experiences as a Latina in entertainment Alien Activity in New Jersey The Cassiopean Experiment Human evolution speculation Discussion of consciousness and personal agency Be sure to like and subscribe to #HealThySelf Hosted by Doctor Christian Gonzalez N.D. Follow Doctor G on Instagram @doctor.gonzalez https://www.instagram.com/doctor.gonzalez/

In this episode, Dr. G and Naz Perez engage in a candid and wide-ranging conversation, exploring topics from hormonal health and gut issues to the emotional impact of community and movement therapy. They dive into the intersection of anxiety, the vagus nerve, and holistic well-being while also discussing the evolving entertainment industry, the role of AI, and personal experiences as a Latina in media. The conversation takes a metaphysical turn with discussions on alien activity, human evolution, and consciousness. Throughout, Dr. G and Naz share insights, personal growth stories, and thought-provoking perspectives, making for an enlightening and dynamic discussion. #wellness #spirtuality #podcast Naz Perez Instagram @NAZPEREZ === Thanks To Our Sponsors! Timeline Visit https://timelinenutrition.com/drg and use code DRG to get 10% off OurPlace Visit https://fromourplace.com and use code DRG to receive 10% off. Birch Click here https://birchliving.com/healthyself to get 20% off your Birch mattress plus two free pillows. === Show Notes: Discussion of hormone imbalances and estrogen dominance Exploration of gut health issues including SIBO and IMO The connection between anxiety, gut health, and the vagus nerve Importance of testing hormone levels in conventional medicine Using movement and dance as therapy Processing emotions through music (classical music for sadness, Tchaikovsky for anger) Impact of community on personal health and wellness Discussion of emotional repression (anger in women, sadness in men) Changes in the industry due to social media and AI Future of creative work and authenticity Movie recommendations Personal experiences as a Latina in entertainment Alien Activity in New Jersey The Cassiopean Experiment Human evolution speculation Discussion of consciousness and personal agency Be sure to like and subscribe to #HealThySelf Hosted by Doctor Christian Gonzalez N.D. Follow Doctor G on Instagram @doctor.gonzalez https://www.instagram.com/doctor.gonzalez/