Podcasts about Tumbao

Tenemos a Tumbao!, una orquesta de fusión latina que te va a cautivar con su mezcla de sonidos psicodélicos y latin jazz en Luna.

Alba is the founder and creative behind Mariana by Alba, the corset brand that is taking over NYC. Whether you've seen her pieces at Tumbao on Orchard St. or on an online editorial, once you see one of her pieces you can't stop thinking about them. So, I had to ask Alba to come on Chevere Means Cool and tell us some more about her story. Mariana by Alba is a space for creativity that almost started as an outlet for her to be playful and use some of the sewing skills she learned from her grandma. This made-to-order pieces are crafted by hand between New York and Mexico from natural fibers and deadstock materials, making them all extremely unique. Her brand grew organically and she's ready to introduce a new collection with inventive takes on the classic corset, redefining what this historical piece has normally been associated with. She wants people to feel empowered and sensual when they were her pieces, and mostly have fun with them! Alba has a vibrant aura to her that immediately makes you want to befriend her and this energetic, genuine charisma really translates to her brand. Listen to her story and follow @marianabyalba for more.

In this episode we sit down with Downtown Tumbao, a Latin Jazz group out of Baltimore, MD. CHECK OUT DOWNTOWN TUMBAO CONNECT WITH US --- Support this podcast: https://podcasters.spotify.com/pod/show/937-podcast/support

La salsa es un género musical que ha servido como puente o lenguaje universal de la experiencia latinoamericana. La salsa le habla al que transita en el "subway" de la cosmópolis neoyorquina, al que se desplaza en motora por las serpentinas carreteras de la andina Bogotá, y al que esquiva boquetes en la Baldorioty de camino a Carolina. En esta Nota al Calce conversamos con el documentalista Beni Marquez y el profesor y percusionista Jeren Guzmán sobre la salsa, el estado actual de ese género musical y la importancia de trazar conexiones en lugares que se tiende a pasar por alto en estas conversaciones: África. Visiten https://www.salsathedocumentary.com/ para más información sobre el documental que elabora Beni Marquez sobre la historia de la salsa. #DaleOído Plan de Contingencia es un podcast producido en Puerto Rico por Esteban Gómez y Guarionex Padilla donde discutimos temas de actualidad nacional e internacional. #DaleOído. Si deseas continuar la conversación en las redes sociales: Twitter: @pdcontingencia | Instagram: @plandecontingenciapodcast | Facebook: @plandecontingenciapr Busca nuestros perfiles en Twitter: Esteban: @estigom Guarionex: @guariocandanga |intro: DávilaEnElBeat |outro: Hermes Ayala-Tro-tro. Esta Nota al Calce es posible gracias a Libros787, la tienda online más cool para descubrir y comprar libros escritos por autores puertorriqueños e hispanos. Utiliza el código de promoción "plandecontingencia" en tu próxima compra en Libros787.com para obtener shipping gratis para Puerto Rico y Estados Unidos. También contamos con el auspicio de Jabones Don Gato. Los jabones Don Gato son hechos a mano, sin químicos dañinos ni detergentes. Elaborados con aceites naturales, esenciales y aromàticos, seguros para la piel. Pruébalos y siente la diferencia. Visítalos en jaboneradongato.com y utiliza el código "plandecontingencia" para obtener un 10% de descuento en su compra. --- Support this podcast: https://podcasters.spotify.com/pod/show/plan-de-contingencia/support

HoneyQuil- Bax, Spaniard, Evil, Scoops and JBDubs via satellite.  Church update and Tumbao.  Hold on tight it's a bumpy ride.  www.TheLifePodcast.net TheHooliganCorp@gmail.com  

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Ray Viera was born in Rio Piedras, Puerto Rico. During his childhood he grew up listening to the recordings of the great "Soneros", such as Hector Lavoe, Ismael Rivera, Ismael Miranda, Chamaco Ramirez and Marvin Santiago. Collectively, these artists inspired Ray to pursue his goals, combining their musical influences into his own vocal style and sensibility. At the age of 11, Ray was sent to live with his father in the "Barrio" of Philadelphia.  Where he was exposed to many other musical genres.  Although he lived outside of his native Puerto Rico, he never lost his cultural roots and musical influences. Ray has worked with many Latin music legends, including Johnny Pacheco, the late Celia Cruz, Yomo Toro, Adalberto Santiago, Papo Lucca, Justo Betancourt, Eddie Palmieri, Spanish Harlem Orchestra, Jimmy Bosch, Chino Nunez, The Fania All Stars, and many other greats. He recorded his first album for ATI Records in 1997 produced by Johnny Pacheco with Jovanny Diaz and his Orchestra.Ray has logged over 20 professional recordings where his discography includes background vocals in various genres, including the soundtrack of an Off-Broadway musical entitled "Quien Mato a Hector Lavoe" starring Domingo Quinones, that would later become a major motion picture starring Jennifer Lopez and Marc Anthony titled “El Cantante”. He sang background vocals for the late Celia Cruz's Grammy winning "La Negra Tiene Tumbao", her final CD; both Eddie Palmieri's 40th anniversary CD, "La Perfecta II" (Grammy nominated) and "Ritmo Caliente", and is the lead singer in Johnny Pacheco's 50th anniversary CD "Entre Amigos"(2004). He also participated in Ricky Gonzalez's "Oasis", singing lead in the songs "Timbalero" and "Ya Era Tiempo". Over the years, he has toured throughout the United States, Canada, Mexico, South America , Africa, and Europe.While striving to realize his dreams, he has continually performed with intense passion and emotion. Many consider Ray one of the new generation of artists who can blend the traditional style of singing with the flexibility of a crooner and a progressive, modern outlook. After many years of being in a background role to some of Salsa's greatest legends, Ray released his debut album, Aqui Esta Ray Viera in 2002. He shows his talent as composer in songs like "Lo Mio Es Cantar", "Borinquen y Cubanacan", and "Corazon Cerrado". He also composed "Tun Tun Suena El Tambor" in Spanish Harlem Orchestra's Grammy award winning album "Across 110th Street". Ray has been a lead singer for the legendary Johnny Pacheco's Tumbao Añejo since 1998. In 2007 Ray released “TROMBAO which he produced and composed nine of the ten songs. “TROMBAO” made it to the second round of the Grammy nomination process in 2008. Ray Viera y Trombao presented its latest work to the public that provided a cultural blending of rhythm that is bursting with Caribbean flavors titled "SAMBUMBIA RADIOACTIVA" in 2013. Today, Ray Viera is taking his talents to the production side and continuing to compose for various projects.Support the show

Les traigo esta conversacion con Ricar. Presentando su nuevo trabajo discografico, La Salsa, La Vida y La Calle. Hablamos sobre sus comienzos y unas anecdotas que transforman vida. La historia de EL Tumbao de Ricar esta espectacular. Los espero en los comentarios. Recuerda darle like al contenido, compartir el episodio y suscribirte al canal!!Suscribete: Youtube ChannelSigueme en las redes: Nacion Salsa en las redes sociales

Los centenarios bufos cubanos para hacer sus diálogos más atractivos, no dejaron pasar la oportunidad de insertar en ellos rumbas, guarachas, canciones y boleros. En las grabaciones que con profusión efectuaron durante las dos primeras décadas del siglo XX, ya fuesen creaciones propias o piezas de moda en el ambiente de aquellos años, la música siempre estuvo presente. Año 1913 y con el apoyo del gran Alberto Villalón en la guitarra, dos grandes del mítico teatro "Alhambra": Regino López y Adolfo Colombo. Para discos Víctor grababan la pieza de Gonzalo Anckerman: "Amor gallego" Arquímedes Pous, desaparecido en plena gloria, fue uno de los "negritos" más celebrados. Junto a Conchita Llauradó y Mendoza grabó para la etiqueta Columbia uno de aquellos diálogos cómicos con que triunfó a comienzos de los años 20. El negrito, la mulata y el gallego fueron arquetipos muy populares alrededor de los cuales los libretistas tejieron infinidad de situaciones. Aclamados a lo largo y ancho de la isla por un público que, invariablemente, vio reflejadas en sus sátiras sus inquietudes, esperanzas y dificultades, estos auténticos animales de las tablas se hicieron indispensables. Ramón Espigul, actor, libretista y compositor, se impuso en los escenarios con un "negrito" bien original y desenvuelto. Conchita Llauradó y Rodríguez le acompañan en esta grabación -en dos actos- de marzo de 1927. En "El espiritista" Espigul dejó constancia de otra de las cualidades por las que fue aplaudido por el público: su chiflido. Otro "negrito" de la época: Sergio Acebal, se impuso en las tablas del teatro "Alhambra" y en el desaparecido teatro "Payret". Como contrapartida, en esta grabación del año 1928: el "guajiro", otro importante personaje del bufo criollo, interpretado por Carlos Zarzo. Senén Suárez, guitarrista y compositor matancero, se estableció en la Habana de los primeros años 40. Luego de integrar varias formaciones de importancia como el Quinteto de Celso Vega, devenido "Los Guaracheros de Oriente", el Conjunto "Colonial" que fundó en 1946 junto al cantante Nelo Sosa, y el Conjunto de Ernesto Grenet, comenzó a dirigir está última formación, a comienzos de los años 50 en los predios del Cabaret Tropicana, rebautizándola con su nombre. Álbum "Tumbao acaramelao". Es el conjunto de Senén Suárez de mediados de los 50 desde una producción Panart. Sobresalen las voces de Laíto Sureda, Carlos Querol y el veterano rumbero Tata Gutiérrez. Las leyendas de una isla y su música. Con ellas volvemos a sintonizar la señal de la radio independiente cubana. El estudio-teatro de Radio Progreso, finalizando la década del 50, le abría las puertas a las voces y agrupaciones más destacadas. Segmento que nos brinda el arte de la soprano de coloratura Xiomara Alfaro en tiempo de bolero. El afro y el son montuno en los desenfadados estilos de Rolando Laserie y Pío Leyva alcanzaron gran esplendor con el apoyo de la banda de Bebo Valdés. Pedro Izquierdo, formidable percusionista, rumbero, bailarín y cantante. Con el nombre artístico de Pello el Afrokán, atado para siempre al hondo toque de los tambores de nuestra nación, habrá que agradecerle eternamente las memorias de esta valiosa producción donde recopiló parte de aquellas míticas comparsas que, en tiempos pasados, estremecieron de alegría los barrios de la Habana. Los ecos de "Los Dandys" de Belén, "El Alacrán" del Cerro, "Las jardineras" del barrio de Jesús María y "Los Marqueses" de Atarés, despiden el programa de hoy. Cantos y toques que son Cuba por los cuatro costados.

What's good y'all?! Welcome back for another episode of WML! Sam enjoys Tumbao and the Taini show at Oasis, while Bert rocks out at the Jonas Brothers concert. Chris gets a new car, financially savvy and spacious for his doggo. Join the discussion on bee stings and the Usher vs. Chris Brown debate. Hear the squad's stories about their first encounters with reggaeton. Learn about skincare routines and debate the best verse in 'Mercy.' Lastly, witness the heartwarming gesture of the pod taking their moms to Tayrona for Mother's Day. More the next episode but for now as as always Roll up, Pour Up, and Tune In to Where's My Lighter Podcast.

Estrenos y un festival, podría haber sido el título del programa de hoy, pero parece más importante reparar en que el folk inspira de nuevo al jazz. Sí, el proyecto del trombonista Víctor Correa sería uno de esos estrenos. Con un largo recorrido en la escena jazz española, Correa junta a músicos del folk para aunar, con sonoridades jazzies, poesía, danza y música tradicional. “Movimiento” se llama su proyecto, y a él le dedicamos toda la segunda parte de La Tarataña de hoy. Los estrenos serían los de los gallegos Caldo y los asturianos Guieldu, y el festival, el de Música Celta Lugnastar, que se celebra este mismo fin de semana en Villastar (Teruel) con Lurte y Lugh como grupos principales. Este es el listado que explica todo: - Caldo, “Cáncano d’Abril” 2:41, “Cinzas” 4:09 y “O que fomos” 3:20 - Guieldu, “L’Aremu” 5:02 y “Irish Fleadh” 3:38 - Lurte, “Sangre y fuego” 4:30 - Lugh, “Jota de San Juan de Plan/Jota de la niña” 5:13 - Víctor Correa, “Amanecer/Moraña” 11:47, “Tormes Grados” 4:11, “Tumbao” 2:55 y “Soledad Delibes” 5:03 Escuchar audio

We're joined by the talented Gabriela Sacconi to talk about her brand, Élope—featuring hand woven pieces at the intersection of art and design. Gabi is a visual artist which translates in her pieces, both in the jewelry and clothing she creates. She uses materials that have the possibility of transformation, and is inspired by expansion and contraction to reflect the ways in which we move, migrate and interact with our environments and other beings that co-inhabit our spaces. All of her pieces are hand made and one-of-a-kind, and she works closely with techniques that require intricate attention to detail and care. In this episode we talk about her journey from art school in the US to moving back home to Colombia to pursue Élope, and how it's naturally progressed and grown with the support of her community. Gabriela has such a beautiful perception of nature and finds inspiration in things such as the changing states of sunlight to create her pieces. We'll chat about this and more on the episode! Please follow Élope to keep up with their new creations and if you're in NYC visit Tumbao to experience these pieces in real life. Thank you for listening and supporting Chevere Means Cool!

Simón Petit, Arturo Ramos & JazzTaBueno Productions present: SalsaBrava 06/2023 *Venceré* 1. Antero– El Gran Combo 2. No Tengo Pena – Markolino Dimond 3. Cipriano Armenteros - Ruben Blades 4. Pacheco y su Tumbao – Pacheco y Melon 5. Cinco en uno callejero – Grupo Folklorico Experimental Niuyorkino 6. Bajo con Tumbao – Eddie Palmieri 7. Margarito – Bobby Valentin 8. Coje pa la cola - Charlie Palmieri 9. Dejala que Siga – Hector Lavoe. 9. Venceré – Harlow-Miranda Our Production music is new and innovative in many ways. Is also engaging and inspiring our loyal public radio family with the current explosion of talent and creativity across the spectrum of jazz and related musics.

INTRODUCTION Alicia Keys – “City of Gods (Part II)” (https://www.youtube.com/watch?v=9b84Oxv6PR8) Blondie – “Rapture” (https://www.youtube.com/watch?v=pHCdS7O248g) Helen Reddy – “Delta Dawn” (https://www.youtube.com/watch?v=fzb7a1T4c1k) Valerie June – “Astral Plane” (https://www.youtube.com/watch?v=rN35g4eLQgg)     MOVEMENT 1 Carnegie Hall's New Season: https://www.nytimes.com/2023/02/28/arts/music/carnegie-hall-2023-2024-season.html Tania León – “Tumbao” (perf. Eunbi Kim) (https://www.youtube.com/watch?v=tgLH6lDD5jM) WCMU Replaces Clasical Music with News: https://current.org/2023/03/michigans-wcmu-replaces-classical-music-with-news-on-weekdays/?wallit_nosession=1 Apple Music Classical Launch: https://www.macrumors.com/2023/02/28/apple-music-classical-code-ios-16-4-beta-2/ Dobrinka Tabakova – “Simple Prayer for Complex Times” (perf. Lara Downes) (https://www.youtube.com/watch?v=MaB_wij-xvo)   MOVEMENT 2 Jenni Brandon – “Double Helix” (https://www.youtube.com/watch?v=gnskitBp0Bw) Julia Perry – “Short Piece for Orchestra” (https://www.youtube.com/watch?v=pwv6otly7Nc)  MOVEMENT 3 Florence Price – “Tropical Noon” (https://www.youtube.com/watch?v=XHolUsGzS90&list=OLAK5uy_lVZ_-WHPyAsQyPCi6cRhpb8cszw4ueCtk&index=3) Garrett Interviews Gabriella Di Laccio (https://www.gabrielladilaccio.com) Donne: https://donne-uk.org Chiquinha Gonzaga – “Gaúcho” (https://www.youtube.com/watch?v=jrOaKVw7w5Q)  MOVEMENT 4 Nina Simone – “My Baby Just Cares for Me” (https://www.youtube.com/watch?v=1bccOfePKVc) Garrett and Scott Discuss Respectability Politics   SPONSORS: Schubert Club: https://schubert.org Salastina: https://www.salastina.org    ★ Support this podcast ★

Musica Def Leppard, Johnny Cash

In this episode we talk to Francisco Garcia, aka Dj Sisco who is a key member of the dance community in Toronto. He has been Dj-ing for over 12 years and he was part of the mastermind group that created the extremely successful, and dearly missed event Dame Tu Bachata. Before the pandemic started, him and his business partners started a new salsa event in Toronto called Tumbao! We are so glad and grateful that we had the opportunity to experience such an amazing event before the lockdown. He is incredibly passionate about music and is dedicated to keeping the art of vinyl alive. His music collection is carefully curated and he is always supporting new artists and discovering new music. He is very encouraging of new talent (us included) and is dedicated to sharing his knowledge to help the new generation thrive. Speaking to him reminded us why we started the podcast, how much we miss dancing, and how lucky we are to live in a city where the community is so strong, vibrant and diverse. Follow Dj Sisco: https://www.facebook.com/DjSiscoAndHisTorontoSalsaDuraEvents https://www.instagram.com/sisco84/

❌ Salsa urbana con sabor a bomba y plena de eso se trata el TUMBAO de RICAR‼️ Un joven de Villalba, Puerto Rico que le brinda el toque de su generación a un género de de historia y tradición

Today's episode is all about celebrating Latin American art — clothes, jewelry, objects, community! We're joined by Valentina Pozo, founder of Tumbao, an ever evolving pop-up showcasing Latin American emerging artists and designers. Valen's heart and soul goes into each of these pop-ups, curating and celebrating Latinx talent in the most unique way. We talk about why it's been so important to create an experience beyond traditional retail to showcase these brands, the role of community, and the importance of starting conversations around these artists. This is only the beginning for Valen and as a friend, it's beyond exciting to be along for this incredible ride.  NYC — Visit Tumbao at 20 Orchard St, open until Dec 23! 

Sintonía: "Elíades Tumbao 27" - Afro Cubism "Djelimady Rumba" y "Guantanamera" - Afro Cubism; "Alabama Jubilee", "Johnny The Walker Of The White Mountains" y "Waltzing On The Saturday Night Astralplane" - Andy Dale Petty; "One Rainy Wish", "All Things You Are" y "The World Is Waiting For The Sunrise" - Eric Johnson; "Impressions Of The Past" - Megafaun; "Wes Coast Raga" - The Donkeys; "Cowboy Bossa" - Julian Kanevsky; "Song of Happiness" - Cochemea Escuchar audio

Máquina de Inscrever 18º Programa da Série 2 episódio produzido dentro do ecossistema Near com a Nomade Label DAO Notas de Roda Orelha Vinheta: trilha sonora de abertura Caleb Mascarenhas, trompete Paloma Klisys. Haroldo de Campos - “Isto não é um livro de viagem”, extraído de 16 fragmentos de “Galáxias”, Editora 34, 1992. - faixa: “Como quem escreve”. Jurandy Valença - voz. fragmento de texto de Paloma Klisys Marcelo Nietzsche - voz e texto Toinho Castro - voz e texto Glaucus Noia - voz e texto Flavia Spinardi - voz e texto Luluca L - pessoa amador voz, texto e arte sonora Rosane Preciosa - voz e texto Fernanda Paixão - voz e texto. Reflexões à partir da leitura do livro Gaveta Anarquista - deriva no Reels do Instagram Fabio Angelus - voz e texto sobre aplicativos de socialização Arquivo do Rádio - propaganda Café Seleto Síndica: vinheta de Paloma Klisys, na voz de Dani Porto, Angela Ayres e Otto Nascarelas. Síndica: vinheta de Paloma Klisys, na voz de Dani Porto, Angela Ayres e Otto Nascarelas. No papel de síndica: voz e texto de Thais de Almeida Prado. Dani Porto - voz e texto João Reynaldo - voz e texto: O Homem Poodle Off Diário - Raísa Inocênsio (Orfel Poeta) Deriva urbana - fragmento captado por Esther Lourenço Próxima Estação - captação de deriva pelo metrô de São Paulo - fragmento captado por Dani Om WhatsApp - anônimo Minuto Crypto - fragmento de notícia sobre cryptomoedas e medo de anarquia monetária Probos - fragmento de música “ Caetano Estacionou” Rogerio Chi Minh - bisneto bastardo de Ho Chi Minh - voz e texto Antimétodo - Fly Goa voz, texto e arte sonora Mario Egas - educador musical colombiano. Voz e texto.Fragmento de áudio captado por Rita Maria durante o Seminário Latinoamericanode Educación Musical realizado em 2022 na Costa Rica na Ciudad de Heredia. Fragmento da música Tumbao de Rúben Gonzalez Dislocated - Leitura do livro “Sincronicidade” C.G. Jung. Editora Vozes. Sócrates Magno - voz, texto Manuel de Barros. Roteirização, edição e montagem > Paloma Klisys Agradecimentos a todos os colaboradores que tiveram os áudios selecionados ou não para este episódio. Trabalhos técnicos da transmissão no YouTube e Criptoxovels Gus Manutegus, artista multilinguagens e pedreiro do metaverso.

Rudy Sarzo nació en Cuba y llegó a los Estados Unidos a los nueve años. Como muchos niños de su generación, ver a los Beatles en el Ed Sullivan Show fue suficiente para hacerlo rockero de por vida. Hablamos con Rudy sobre su carrera en el Heavy Metal y la influencia de la música cubana  en su manera de tocar el bajo.

Tania León, compositora estadounidense de origen cubano, habló en La W sobre elreconocimiento que recibirá en el Kennedy Center Honors 2022 en su ediciónnúmero 45.

On today's show, a musical journey to Cuba. Plus, the most straightforward route to taking over the world, an interview with the Democratic Party candidate for U.S. Senate, and much more.

This week, University of Arkansas music professor Lia Uribe highlights the music of composers Orlando “Maraca” Valle and Errollyn Wallen, and performers Rafael Mendez Rubel and Artina McCain, all bringing new additions to the classical music repertoire.

Capítulo 029: On this episode of Ocu-Pasión we are joined by Teatro Vista's Co-Artistic Directors Wendy Mateo and Lorena Diaz.  Listen in as we discuss pushing the boundaries of digital theatre, creating a safe space for artists to explore, and a sisterhood that has lasted over two decades. Teatro Vista, Theatre With A View is firmly committed to sharing and celebrating the riches of Latino culture with all Chicago theatre audiences. This commitment stems from the belief that there are as may similarities as there are differences, and that perhaps the answer to breaking down the walls of prejudice and stereotypes lies in understanding these differences. Ultimately, it is through this "view" that Teatro Vista intends to bridge the gap between Latino and non-Latino cultures in Chicago.Diaz and Mateo are a “multihyphenated jefa” comedy duo who have enjoyed their creative partnership for more than 20 years. They co-founded (with six other partners) their own content creation studio, Chicago4Real, and co-host their livestream show Bochinche at Nite on the studio's Twitch channel. They have co-written and directed several films including Good Mothers (official selection of HBO NY Latino Film Festival and the Chicago Latino Film Festival), Sunset 1919, written by J. Nicole Brooks in collaboration with Lookingglass Theatre, and Identified, produced by Full Spectrum Features. As Dominizuelan, they performed nationally for years and pursued several independent projects, including co-writing and starring in the comedy web-series Dominizuelan Consulate, created in collaboration with Fred Armisen, producer/director Alice Mathias and Mas Mejor Productions.Diaz (she/her/hers), a “Made in Chicago” hybrid of Peruvian Indigenous descent and American Latino swagger, has bounced between Chicago's theater and comedy scenes for 15 years. She is familiar to Teatro Vista audiences for portraying Carolina in the company's acclaimed 2018 world premiere The Madres by Stephanie Alison Walker. She subsequently co-directed Teatro Vista's 2019 premiere of Walker's sequel, The Abuelas. Her many other collaborations include work with Jo Cattell and Steppenwolf 1700 (Tumbao, a live radio play), iO Chicago (People in the City), Mike Oquendo Productions, Goodman, Playground Theatre and The Second City. She is most commonly known for her work over six seasons as the snarky Nurse Doris on Dick Wolf's Chicago Med, Fire and PD franchise.Mateo (she/her/hers) is a Chicago-based comedian, actor, writer, director and filmmaker. Mateo has been seen throughout the city's stages including Lookingglass Theatre, where she is an artistic associate, Steppenwolf 1700 and Playground Theater. Her directing credits include the 2018 play Not for Sale 2.0 by Guadalis del Carmen at UrbanTheater Company. On TV she performs in shows like NBC's Chicago PD, as guest star Chicago Med, and as “Ronnie” in the forthcoming Station Eleven on HBO. Aside from her focus on expanding representation in media, Mateo is also an equity, diversity, and inclusion consultant and facilitator with the Nova Collective and her own consulting company, Ina Consulting. Follow Lorena & Wendyhttps://www.instagram.com/itslorenadiaz/https://www.wendymateo.com/https://www.instagram.com/itswendymateo/ Follow Teatro Vistahttps://www.teatrovista.org/https://www.facebook.com/TeatroVista/https://www.instagram.com/teatrovista/https://www.youtube.com/user/TeatroVistaChicago 

Invitados por segunda vez al directo de Veronica Manjón para hablar de la actualidad de este final de febrero del 2022 donde la tragipandemia ha cedido el paso a la guerra de ruso-ucraniana y nadie parece darse cuenta de que todo es parte de un guión. La enorme censura y los fakes de guerra por ambos bandos son algo cotidiano no solo en las redes sino en los grandes medios de comunicación. ………………………………………………………………………………………. Entrevistadora Leonesa en tierras Austriacas @VeronicaManjon LEONESA DEL FUERO DE LEÓN, Cuna del Parlamentarismo y 8 Marzo. Leona, publicista, diseñadora gráfico, ilustradora y graffitera. LIBRE Y SOBERANA Canal de Twittch de Veronica Manjon https://www.twitch.tv/veronicamanjon Entrevistados Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. Un Tecnico Preocupado https://twitter.com/tecn_preocupado ………………………………………………………………………………………. Enlaces utilizados en este podcast: Los camioneros canadienses se fueron con una multa bajo el brazo https://twitter.com/GerardLos/status/1497361528168792071 BOE con la reforma de las enseñanzas de primaria https://www.boe.es/eli/es/rd/2022/03/01/157 Documentos de Pfizer con las 9 hojas de efectos adversos https://twitter.com/TheDigitalBers1/status/1498696655004049409 https://phmpt.org/wp-content/uploads/2021/11/5.3.6-postmarketing-experience.pdf Primer directo d@b (lo que nos tienen preparado las elites, la zona gris de guerra) https://www.youtube.com/watch?v=cv4zPcVPZHY Análisis geopolítico de la guerra ruso-ucraniana https://twitter.com/GiuseppeNoc/status/1498819501546160131 Y otro del mismo autor https://twitter.com/GiuseppeNoc/status/1499280495468818434 Otro análisis geopolítico de la guerra ruso-ucraniana donde aparecen las milicias nazis https://twitter.com/Budijoly/status/1498086804481843215 Expulsión de Rusia del sistema de pagos internacionales SWIFT ¿Qué ha pasado realmente? https://twitter.com/franco_vielma/status/1497621236100341773 El 25 de febrero los periódicos de medio mundo publicaron la cara de una mujer ensangrentada que resulto trabajar para los servicios secretos ucranianos https://twitter.com/EmbajadaRusaES/status/1498370470927904771 Compilación de fakes en la guerra ruso-ucraniana https://twitter.com/imgweb_es/status/1497233186031607811 Más fakes de la guerra ruso-ucraniana https://twitter.com/BethCharron1/status/1497294833546838018 https://twitter.com/AquAhora1/status/1497506262547898368 Las imágenes de los "soldados Ucranianos despidiéndose de sus novias" son de 2018 https://twitter.com/DaniWolv/status/1497875185575374851 civiles con armas fake https://twitter.com/EscuelaFit/status/1497678852373594112 Making off de una supuesta huida de civiles en Kiev https://twitter.com/EscuelaFit/status/1497531967721676801 Video del atropello de un civil por un tanque ucraniano antes de la llegada de las tropas rusas a Kiev https://twitter.com/Jor_G_P/status/1497498654587830273 Trafico de niños ucranianos a China https://www.rt.com/news/486930-ukraine-china-baby-trafficking/ LA REALIDAD sobre las 'GRANJAS DE NIÑOS' y los VIENTRES DE ALQUILER https://www.youtube.com/watch?v=qtkzpHlVuqc Explotación reproductiva ‘low cost’: las ‘granjas de bebés’ en Ucrania https://www.lasfuriasmagazine.com/explotacion-reproductiva-low-cost-las-granjas-de-bebes-en-ucrania/ Encuentran grabaciones de violaciones a menores en los móviles de militares ucranianos https://www.abc.es/internacional/abci-encuentran-grabaciones-violaciones-menores-moviles-militares-ucranianos-201608080906_noticia.html La embajada USA en Ucrania borra toda la información de los 11 biolaboratorios en el país https://twitter.com/dave73es/status/1497562954778226696 ¿Es Volodymr Zelenskyy, el presidente de Ucrania, una marioneta occidental o es un hombre del pueblo? https://twitter.com/threadsirish2/status/1498251662774865922 Soros ayudó al conocido actor/comediante Volodymyr Zelensky a convertirse en presidente de Ucrania lavando el cerebro al país https://www-europereloaded-com.translate.goog/soros-helped-known-actor-comedian-volodymyr-zelensky-become-president-of-ukraine-by-brainwashing-the-country-video/?_x_tr_sl=auto&_x_tr_tl=es&_x_tr_hl=es&_x_tr_pto=nui El presidente Zelenski y sus payasadas https://twitter.com/MagnetoDark/status/1497631618445447171 Spot publicitario Zelenski disparando a los congresistas https://twitter.com/CMonteroOficial/status/1497625797087186947 Video donde Klaus Schwab dice claramente que Putin formó parte de los jóvenes que el infiltró en gobiernos del mundo https://twitter.com/farmaceuticoac1/status/1497428056490844160 Disgregación de la esfera geopolitica rusa https://twitter.com/Asinohayquienv2/status/1498225057000304643 Antonio García-Trevijano Forte, 1 de febrero del 2015 sobre la amenaza de Putín y Ucrania https://twitter.com/BeltranIII/status/1499526232354041858 ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros ………………………………………………………………………………………. Al otro lado del Camino - Fito Páez https://youtu.be/fTxBgSzmVEg Habrá una guerra en las calles - BUNBURY https://youtu.be/8ON03cDnrus Hay Que Joderse Que Bien Se Está Tumbao · Cicatriz https://youtu.be/mOyELN4i6Ko MÁSCARAS - FLOWZETA https://youtu.be/11M8rba132g Energía (Rap Cristiano) - Almighty https://www.youtube.com/watch?v=cTkBTc4cooE ENERGÍA (Prod H.GZ) - HARD GZ https://www.youtube.com/watch?v=Vl3K3elHZFg Energía - t-killa https://www.youtube.com/watch?v=nDZkiC2z_GM no sé - mentira https://www.youtube.com/watch?v=8dbFFuCvxqU Epílogo Grito de Guerra - Carlos Rivera https://www.youtube.com/watch?v=2ShpiXgBg5Q

On this episode, David and Joey chat with the newly appointed Co-Artistic Directors of Teatro Vista in Chicago, Lorena Diaz and Wendy Mateo, about shared leadership, how joy can be your currency, and their incredible 20+ year relationship. Lorena Diaz, a "Made in Chicago" hybrid of Peruvian Indigenous descent and American Latino swagger, has bounced between Chicago's theater and comedy scenes for 15 years. She is familiar to Teatro Vista audiences for portraying Carolina in the company's acclaimed 2018 world premiere The Madres by Stephanie Alison Walker. She subsequently co-directed Teatro Vista's 2019 premiere of Walker's sequel, The Abuelas. Her many other collaborations include work with Jo Cattell and Steppenwolf 1700 (Tumbao, a live radio play), iO Chicago (People in the City), Mike Oquendo Productions, Goodman, Playground Theatre and The Second City. She is most commonly known for her work over six seasons as the snarky Nurse Doris on Dick Wolf's Chicago Med, Fire and PD franchise. Wendy Mateo is a Chicago-based comedian, actor, writer, director and filmmaker. Mateo has been seen throughout the city's stages including Lookingglass Theatre, where she is an artistic associate, Steppenwolf 1700, and Playground Theater. Her directing credits include the 2018 play Not for Sale 2.0 by Guadalis Del Carmen at UrbanTheater Company. On TV she performs in shows like NBC's Chicago PD, as guest star Chicago Med, and as "Ronnie" in Station Eleven on HBO. Aside from her focus on expanding representation in media, Mateo is also an equity, diversity, and inclusion consultant and facilitator with the Nova Collective and her own consulting company, Ina Consulting. Connect with Lorena (she/her) https://www.instagram.com/itslorenadiaz/?hl=en Connect with Wendy (she/her) https://www.wendymateo.com/ https://www.instagram.com/itswendymateo/?hl=en Follow Teatro Vista https://www.teatrovista.org/ https://www.facebook.com/TeatroVista/ https://twitter.com/TeatroVista https://www.instagram.com/teatrovista/ https://www.youtube.com/user/TeatroVistaChicago Connect with David (he/they) http://www.davidmendizabal.com/ https://www.instagram.com/its_daveed/ Connect with Joey (they/them) https://www.instagram.com/mxjoeyreyes/ https://twitter.com/mxjoeyreyes Follow The Sol Project http://www.solproject.org/about-us.html https://www.facebook.com/solprojectnyc/ https://www.instagram.com/solprojectnyc/ https://twitter.com/solprojectnyc This episode was mixed and edited by Iris Zacarías (she/they) https://www.iriszdesigns.com/ https://www.instagram.com/irismarcelina/

Música en directo en la radio independiente cubana: en este programa te ofrecemos un especial de una hora con el repertorio del Conjunto Casino del año 1950 y sus cantantes Roberto Faz, Roberto Espí y Agustín Ribot. Presentadores: Manolo Iglesias y Germán Pinelli. Junto a ellos la actriz Velia Martínez y los actores Julito Díaz y Rolando Ochoa. Esto es Cubakústica FM, la banda sonora de #Cuba en #DDCRadio, en #DiarioDeCuba: https://diariodecuba.com/radio

En este episodio muy especial de Songmess seguimos incursionando en el mundo del jazz Dominicano, hoy acompañados por el compositor y productor Isaac Hernández. Conocido por sus trabajos de música fusión explorando la raíz Dominicana, Isaac ha expandido sus intereses al colaborar con artistas que lo llevan a rincones más experimentales. Nuestra conversación toma lugar en el estudio de Isaac Hernández y abarca muchos adelantos musicales, la influencia de Charlie Parker en el jazz Dominicano y la diferencia entre escuela académica y de calle. Playlist: Isaac Hernández, Xiomara Fortuna, Marel Alemany, Josean Jacobo & Tumbao y Patricia Pereyra. Isaac Hernández Bandcamp: https://isaachernandez.bandcamp.com/ Isaac Hernández Spotify: https://open.spotify.com/artist/4R1tquo0i03KdBwoqutquG?si=1dyYaD0gSMSbLXT40n-fOg Isaac Hernández Facebook: https://www.facebook.com/isaachernandezmusic/ Isaac Hernández Instagram: https://www.instagram.com/the_isaac_hernandez/?hl=en Isaac Hernández YouTube: https://www.youtube.com/channel/UCkvgxn_m6s2v6qanQfLGtQw Richard Villegas Instagram: www.instagram.com/rixinyc/?hl=en Songmess Instagram: www.instagram.com/songmess/?hl=es-la Songmess Facebook: www.facebook.com/songmess/?ref=settings Songmess Twitter: twitter.com/songmessmusic Songmess Merch: via DM #BOPS Playlist: https://open.spotify.com/playlist/2sdavi01h3AA5531D4fhGB?si=19109a4c438449d4

Subscribe to Songmess on Spotify, Apple Podcasts, Stitcher, Google Play or SoundCloud, find us on Facebook, Twitter and Instagram, and contact us at songmessmusic@gmail.com.

Studio Milenium presenta una selección de música electrónica hecha en Cuba.

pour découvrir toutes les infos sur votre podcast connectez vous surstreetlatina.over-blog.com/2021/05/pod…i-2021.html

Born in Haiti from Cubano-Haitian parents, now living in Canada. My love for languages is what’s gotten me to fall in love with traveling. It’s a great feeling when you arrive someplace new, bask in, blend in; and not having a language barrier makes it easier to connect with people. This life is full of beauty and I want to see it and enjoy it as much as I can. https://www.instagram.com/harryelle_tumbao  Atomics Travels IG: https://www.instagram.com/atomicstravels Website: https://atomicstravels.com #travel #atomicstravels #traveltuesdayhappyhour #blacktravel --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/atomics-travels/support

FULL TRANSCRIPT OF EPISODEProvided by Otter.aiEoin Trainor  0:00  The views and opinions expressed in Eye on the Triangle do not represent WKNC or the student media.Good evening Raleigh and welcome to this week's episode of Eye on the Triangle on WKNC 88.1 FM HD one Raleigh, I'm Eoin Trainor. On tonight's episode contributor Elizabeth Esser will sit down with Caroline Rocheleau to talk about the North Carolina Museum of Art's new exhibit on golden mummies. And then a little later contributor Lise Knox will discuss live music during the pandemic with Adam Lindstaedt, owner of the local venue the Pour House. Stay tuned.Elizabeth Esser  0:51  I'm Elizabeth Esser with WKNC 88.1 Eye on the Triangle. Today I am speaking with Caroline Rocheleau, curator of ancient art and Director of Research at the North Carolina Museum of Art to talk about the new golden mummies of Egypt exhibition that opened on March 6. Miss Rocheleau, thank you for joining us on Eye on the Triangle.Caroline Rocheleau  1:11  Well, thank you for inviting me Elizabeth Esser  1:12  To get things started can you just tell us a little bit about yourself and your position at the North Carolina Museum of Art.Caroline Rocheleau  1:19  I am director of research and also curator of ancient art, which is I guess, my primary role at the museum. I take care of all the ancient things from ancient Egypt, to the Mediterranean like Greece and Rome and also the ancient Americas but I have a colleague working with me on those last collections.Elizabeth Esser  1:38  What can visitors expect from golden mummies of Egypt?Caroline Rocheleau  1:42  Well, I'll tell you a little secret. Since I started working at the museum about 15 years ago, people have been asking me, when are we going to have mummies? When are you going to bring an exhibition of mummies because we don't have any in our collection. And the second they found out that I was a trained Egyptologist, they thought, Oh, well, she's the person to get us some mummies. So what they can expect to see in Golden mummies of Egypt is mummies. However, we're focused on a very specific cultural period. And that's the end of Egyptian history, when Egypt was ruled by the Greeks and the Romans, so the mummies are not going to look like King Tutankhamun, for example, that's sort of an image that people have in their mind. So it's not going to be that they're still mummies. But there's cultural and artistic influence at that time that's coming from elsewhere in the Mediterranean, and you will see the Egyptians wearing like Roman hairstyles and togas and things like this. So on the outside, they look different on the inside, they're the same.Elizabeth Esser  2:48  So the exhibition focuses on the Greco-Roman period. So what was unique about this particular period? And how do we see that translated in the exhibition?Caroline Rocheleau  2:59  So Egypt has always been a multicultural environment, because of where it's located, you know, northeast Africa, but attached to Western Asia and like the, what we call today, the Middle East, and with access to the broader Mediterranean, now you really see it even more, because Egypt becomes part of other empires that have even further wider reaches. And if you think of just a Roman Empire, the fact that Roman Egypt is on par with Gaul with Roman France, is sort of mind boggling, you know, insert mind blowing emoji here, when you put that into perspective it's like, wow, other countries are as old as Egypt. And Egypt is now part of a much, much bigger network than it was before. So you do see as I mentioned earlier, those cultural influences coming in, because it's all part of the Empire. The Empire is very diverse. It runs from Western Asia, all the way through Western Europe, and the British Isles. So it's, it's quite bigger than Egypt at its height ever was. So you do see those influences? What does curating an exhibition during a pandemic look like? The curating part was not done by me because we this is a traveling exhibition. So it came. It's an exhibition that is circulated by Nomad Exhibitions based out of Scotland and the collection that is being presented is that of Manchester Museum in the UK. So my colleague there, Campbell Price, and Nomad Exhibitions worked together to curate the exhibition. That being said, installing an exhibition during a pandemic is something that nobody had ever done before. And this was complicated by the fact that people from Nomad and people from Manchester were supposed to come travel to North Carolina to install the cases and put the objects in the cases, because of the pandemic and the travel restrictions, nobody could travel. So it was a whole bunch of zoom meetings, phone calls, we had a WhatsApp, you know messaging group, because we're, they're basically helping us remotely put the cases together things we'd never put together before. The material that's you handle any material the same way. So that's not so much of an issue but it was trying to do all of this by ourselves when we were originally supposed to assist. So it was a lot trickier and you're in there with your mask, and you're putting in the objects and you're you're trying to stay six feet apart. That's impossible. So it's very nerve wracking at the same at the same time, but we pulled through, and it looks absolutely fabulous. But it was quite a challenge.Elizabeth Esser  6:06  I understand that the triangle area is celebrating this exhibition along with the museum. Can you tell us a little bit about the community collaborations with the Golden Mummies of Egypt,Caroline Rocheleau  6:16  We actually have a few goodies in various restaurants. And so we have places in Raleigh and Chapel Hill, for example, good day, good night at Origin Hotel in Raleigh. They have a cocktail called Gold of Egypt. There's another one called a golden goddess cocktail that's in Chapel Hill at Honeysuckle Lakewood, there's a bunch of different things. We even have chocolate, custom packaged sea salt chocolate, available at our museum, or I should say, our exhibition store, which is as you come out of the exhibition, it's it's right there, that's Videri Chocolate Factory, and they sell it at their store as well. Even in the store, we do have some goodies related to this bartending cocktail mix that we have. And we also have a candle that where the scent was made exclusively for us. And it's inspired by golden mommies. So that's actually kind of fun. Like you don't really see that in like exhibition stores something custom made like a candle. For example, Honeysuckle Tea House has Egyptian sunset tea made with chamomile, lemon balm, fall gold, ginkgo leaf, gingerroot, and oatstraw. That just kind of sounds nice, actually. So those are the kinds of partnerships that we have with local places like restaurants and tea houses and chocolates, like what could be better a cocktail, some chocolates after you visit the exhibition. That's awesome to me.Elizabeth Esser  7:47  What is your favorite part of the exhibition?Caroline Rocheleau  7:50  Goodness, I have lots of it's like asking for my favorite child. There's lots of different things that I like about the exhibition. I like that we are that we have mummies that people can finally see mummies, like I mentioned, we do not have any in our own collection. But I like also that the exhibition is more than just about mummies that we talk about multiculturalism, we still talk about, what is mummification? Has it changed or not during the Roman period? And a little bit you see this hinted in the exhibition, but there's a catalog also that accompanies it. And we dive into other themes like colonialism as well, because the discovery was made at the height of the British Empire. So how does that play how the objects that were discovered in Egypt ended up in Manchester Museum, for example. And that's one of the reasons I mean, I've been looking for a mummy exhibition for a little while. This one really caught my interest because it was more than just about mummies, but it was also about bringing transparency to how collections have been formed. And that sort of thing. So it was sort of hitting multiple boxes on the best mummy exhibition to bring to the the NCMA. Elizabeth Esser  9:04  Finally, is there anything else that you would like listeners to know about Golden Mummies of Egypt?Caroline Rocheleau  9:09  Well, it is awesome, first of all, so that's the first point. And what I like to our marketing team, we have this little more I'm going to call it a little ad that said that says mummies wear masks too, because you will see a lot of masks and portraits in the exhibition. And yes, these do identify like, Oh look, this is a human mummy. But these are also used as protection, just like the layers of wrapping around the mummy that's for protection. So those mummy masks that you see in the exhibition to offer protection. So wear your mask, do like the mummies, and come see golden mummies of Egypt. Elizabeth Esser  9:47  Golden mummies of Egypt is open from now until July 11. Tickets are $20 for non member adults $17 for seniors and $14 for youth ages 7 to 18 students get in free with their college ID Every Friday from 3 to 5pm with a reserved ticket which can be received through contacting help@NCArtmuseum.org reporting for Eye on the Triangle. This is Elizabeth Esser.Lise Nox  10:15  The views and opinions expressed during Eye on the Triangle do not represent WKNC or student media.Hi, this is Lise Knox, and you're listening to Eye on the Triangle. After spending all of 2020 without seeing live music because of the COVID pandemic the emblematic Raleigh music venue the Pour House House Music Hall started hosting live shows again as of March 2021, I went to one of their COVID safe concerts to see the Latin rock band Tumbao play live on the fifth of March 2021. And I ended up writing about my experience for WKNC's blog, in an article called "I went to a COVID safe concert after one year without any live shows." Adam Linstaedt, owner of the Pour House Music Hall and record shop read my article and thought it would be interesting for him to talk more in depth about what it's really like for a music venue to be hosting COVID safe shows while Raleigh is still affected by the pandemic. I'm really glad we're having this conversation today because I wrote an article a few weeks ago that apparently you've read about me going to a COVID concert at Pour house, which is a very weird experience but really cool experience. So today we're going to be talking about what it's like to be hosting these kind of shows in the middle of a pandemic, because for a lot of people, it can seem kind of weird to be, you know, going to concerts. But before we dive into this very specific topic, I just wanted to like know how it was like for you guys to be going through this pandemic as a venue, you know, like a local business, how are you guys able to survive the pandemic in the first place,Adam Linstaedt  11:51  It was extremely stressful. It still is we're only partially back at this point. But it was just from day one, watching the money in our bank account just dwindle on a daily basis for a venue like ours when we're closed completely not doing anything, the lights are off, it cost $500 a day. And we were closed for 355 days without doing shows. So for all you math majors out there, you know, you can figure that out really quickly of how much we lost. We had nowhere near that amount when we went into the pandemic either we relied heavily on donations, on grants from the city and state and other organizations we've taken out several loans. So yeah, I mean, we've acquired another $400,000 of debt since this time last year just to stay afloat to make sure we don't go anywhere. And now there's some light at the end of the tunnel knock on wood. The venue grant that passed in December through Congress is becoming available the applications opening on April 8, which will be a huge Lifeline not just for us, but for all independent music venues across the country. It'll basically help bring us back to close to zero, which is way better than being a large negative number. There has been days over this last year where it's like, Alright, we got this, we got to figure it out. We're gonna do this, this and that. And then the next day you're like curled up in a corner crying like what the hell am I doing? Why am I doing this? Oh my god, this is such a terrible idea. So it's definitely been an emotional roller coaster, us more than other venues, we're in a slightly better position. So in November of 2019, we converted the second level of the music venue into a record shop. So we've had that open the whole time. Once we closed down, we converted all of our inventory to try selling online the first couple weeks, you know, we basically just had an Excel spreadsheet that we made public that people would tell us what they wanted, they would come to curbside pickup we delivered to their houses, ship it in the mail. And after a few weeks of doing that it was really confusing for everyone and not terribly accurate on our end, since it was like a panic mode. Like we got to do this now. So we can stop the bleeding a little bit. So we launched the true website. It's still active, Pourhouserecordshop.com, and we released new stuff every Friday new and used. And we really developed a great online following and are now selling nationally to all 50 states and several countries as well. So that's been huge for us. It's basically helped sustain us, it's definitely not making us money, but it's you know, making the losses every month a lot less. The intention of the record shop was never to pay for a 5500 square foot building and prime real estate of downtown. There's a reason you don't see places like that very much across the country anymore. It was really a way to provide more services to our customers be open more and use our square footage in a better way. I guess, rather than only using the building at night for a few hours. You know, we wanted to try to use it, you know, 16 hours a day and we had the record shop open. We got a full bar up there. We were doing shows free shows on Saturday and Sunday three to five sets every Saturday and Sunday afternoon up in the record shops. It was really becoming a great thing and then the shutdown happened and everything got wiped out. And really in order for us to get back to doing those types of things. Again, we're going to have to be back with no restrictions whatsoever because it's a pretty small space up there even right now with the show that you went to and that we've been Running on Fridays and Saturdays, it's running at 19% capacity, we normally hold 289 people, we're now letting 54 people in at a time into a big space. They're seated shows, I'm personally bringing everybody in and bringing them to their table, giving them the rundown of how shows are running the expectations that this is a seated show that you should really think of this as going to a movie or a comedy club, you're sitting back and enjoying the show, we're bringing everything to you, there's no reason for you to be up wandering around anything like that, unless you're using the restroom or needing to step outside for whatever reason. Otherwise, if people are just starting to wander around, they see friends at different tables, we talked to them, if they continue to not follow the rules, we kick them out without a refund. Luckily, that hasn't had to happen yet, I'd say 95% of people have been great. And they understand they're, you know, following our protocols, no problem, there's a small group of people that don't want to wear masks, they'll come in, you know, the moment they get inside, they're taking it off. And because you're inside now that COVID is gone, it doesn't make sense. So we are enforcing the mask rule more strictly than say, like a restaurant or a store, we're requiring people to keep it on the entire time, the only time they can take it off is you know, for a drink, they can pull it down, take a sip of their drink, then put it back on. And if people aren't doing that, we ask them to comply. And if they continue to cause a problem, we ask them to leave. We've had a couple people leave on their own, and on their way out calling me a mask Nazi and all this fun stuff. So like cool, like you can have a great day, you know,Lise Nox  16:24  it's like we've been independent for over a year. Now, you should know you're supposed to wear your mask. It's like, you know, basic guidelines for COVID.Adam Linstaedt  16:31  Yeah, there's this strange dichotomy happening because the Pour houses in other music venues are considered private clubs. So like your regular bar that doesn't serve food, it's not part of a brewery, not part of a hotel, not part of the winery, we've been the only classification of bars in the state that hasn't been able to be open, all the other ones have been open since May of last year. So a lot of people have been going out for 10 months at this point. And all those places, you know, you go into a brewery, you go into a restaurant, you wear your mask in, and then you sit down and then you can take it off for two hours and not have to put it back on, getting those people used to the fact that they have to keep it on it feels they feel like they're getting their rights or whatever squashed, blah, blah, blah, but it's our house our rules. And really what the mandate says is, if you're not drinking, you have to be wearing a mask. And we interpret that as if you're not physically drinking, not just sitting there with a drink in front of you that's not drinking, you got to have a mask on. And we're keeping the show short right now to reduce the amount of time that people are in room lessen the exposure risk. So normally, we would have anywhere between two and four bands every night, we're now running one band playing one set for 60 minutes. So people are in and out pretty quickly. And then we turn the house do a deep clean and then do a second show with the same artist. So we're not you know, having multiple bands sharing the stage and having to do deep cleans of the equipment for the artists in between sets. And we've got, you know, plastic shields on all the microphones for when singers are singing, it provides extra protection from them spraying their spit out into the audience. And you know, we're doing everything we possibly can in our powers to do it right and make sure it is a safe experience. In my opinion. I've heard it from countless people that have been to shows already, they felt safer coming to a show with us than going to the grocery store or going to a restaurant or going to this place or that place because the rules are so strictly enforced. Lise Nox  18:15  Yeah, as someone who actually went to a show, I could tell that the venue really looked empty. But at the same time, I was like, I'm glad I have enough space around me to you know, not feel like someone's going to infect me with COVID or something I felt safe. And it was really weird. When my friend told me Oh, actually my partner plays the bass in a band. Do you want to go see him play live? I was like, why would I ever go to a concert like that seems like that most unsafe thing to do. And when I was actually at Pour House, I was like, everything is so much safer than me going to like the grocery store or any other place. So you guys have been doing a really great job of keeping everyone safe props to you guys like that.Adam Linstaedt  18:50  Thank you very much. Yeah, safety and experience for not only the patrons for the bands and my staff as well have always been top priority even before COVID. You know, obviously, it looked different before but the mentality was always there in trying to make it as fun as possible for everyone involved in as safe as possible for everyone involved. And that's just really carried over. I mean, we had these plans in place ready to go in at the beginning of April 2020. We knew what we had to do in order to put on a safe show. Because you know, in the beginning it was it was like on a three week rolling basis. It's like you might be able to open in three weeks. So get ready and then three weeks would come we're like okay, it's another three weeks and kept snowballing on and on and on and on. And then by the time we got to after Halloween into November the numbers were going crazy. So I was like, you know, I'm stopping I can't keep replanning and retooling everything every couple weeks its driving me crazy. I'm getting pretty grey now and I wasn't before. But you know, and then all of a sudden Cooper made the announcement that we could open. It kind of blindsided us we weren't exactly ready for it. And honestly, we didn't think that it was the appropriate time but also at the same time we felt we had safe plans and places have been open for 10 months except 1000 businesses in the entire state. So we felt we could do it safely and properly and provide that Pour House experience, even though in a different fashion, we felt we could do it in a safe and enjoyable way.Lise Nox  20:11  And it was probably even safer at Pour House than any other bar, because I remember going to bar once. And just like you said, People usually tend to like take off their mask to drink. And for two hours, they don't put it back on, we're just not wearing our mask and drinking beers at a bar so. We're just like, not in a pandemic anymore, you know, feels like we're not Adam Linstaedt  20:31  Totally yeah, and you know, there was so much language early on, like concerts are the most dangerous thing you could possibly do on the face of Earth anymore. And everyone's like, concerts. It's the devil's play right there. You can't, you can't mess around with it. And at the same time, during the pandemic, there's comedy shows, and there was concerts happening at places that serve food, it was okay if there was food, so you had to have your mask off and flap your mouth more so more spits flying out into the air that was safer rather than people just sitting down paying attention to what's happening in front of them with a mask on so I mean, the the way it was cut up felt extremely unfair. I do feel like we did our part in doing everything we could to step back and you know, alleviate any sort of pressure that's put on the system for people getting sick. Obviously, that's the last thing we want for anybody. We want this to just go away and nobody else gets infected. But that's not the reality we live in. And but it also got to a point where it's like we were the first ones to jump back into the you know, from the quote unquote, true music venue side of things in the area, we were the first ones to just jump back in. I feel like we've set the bar for expectations for people coming to concerts and what it needs to look like in order to feel safe and comfortable.Lise Nox  21:38  Yeah, cuz it really looks like you guys had been like preparing for COVID safe shows for a long time, because you were able to do it in a way that felt safe professional, and you didn't forget about any detail. I mean, when it comes to COVID guidelines, so that was really impressive to be able to adapt that quickly. You know, like I've seen many record labels and artists have online shows for their audience to watch. Is this something you've ever done with bands who usually play at Pour House during 2020? Adam Linstaedt  22:05  Yeah, for sure. We did probably 20 or 25 live streams over the last year. The first one we did was very early on. Right after John Bryant passed away. We did a tribute to John Bryant with that's when people were still on full lockdown and they're still at their houses. Nobody was coming to the Pour House. We had 8 different acts like BJ Barnum from American aquarium, Kate Rhudy, John Howard Jr, who's playing tonight at the Pour House and a bunch of other really great acts that are influenced by John Bryant. And they each played three songs, nobody replicated songs and we switched myself and one other person we controlled the stream from the Pour house and you know tuned into John Howard's house and over to BJs house then over to Kate's house, and it was like a continuous thing. And it was a really beautiful tribute and you know, tons of people tuned in at that time we were doing it as a fundraiser for the Raleigh music venue employee fund that we started to try to get some dollars in the pockets of all the people that work at Pour House, Lincoln's, Slim's, Kings, and Wicked Witch raised some good money during that for the crews. And then over time, we started doing more in person like Arson Daily and Jack the Radio and Shame did something and a bunch of other artists, Reese McHenry, and over time like as the pandemic ticked on, more and more, the number of people tuning in started going down, I definitely feel like there was like a live stream fatigue happening. I've spoken with several other event producers around the country. And they've seen very similar things. It seems that the most successful live streams are from bands that have a much larger national or international fan base. They're doing it on their own. They're not necessarily streaming from a place for this specific reason. They're just connecting with their, their audience, it was never really an intention for us to make money from it, it was more of a way to be like, Hey, we're going to be gone for a year. Don't forget about us. We're still here. Like, we're still doing these things over here. And we're ready for you when when this is all over. So it was really just a way to try to stay fresh in people's minds. Lise Nox  24:00  Yeah, I feel like the one positive thing that we can all kind of get from this entire pandemic is how we've all kind of learned how to use technology in new ways. You have online shows, which is something you've never would have thought of before the pandemic because if you're going to go to a concert, you're going to go in person, like why would you watch music through computer in the first place? Yeah. And also Yeah, about the, like livestream fatigue. I feel like a lot of people have spent their entire 2020 working from home on their computer, you know, having zoom calls all day. No, the last thing you want to do after an entire day seated at your computer at your desk is watch the live stream again at night. I don't think I've watched any live stream during the pandemic because I was really I wasn't really up to date with everything that was going on, like this, but I think I would have watched one if I kind of knew because I was so caught up in like work and you know, trying to survive a pandemic, I guess but yeahAdam Linstaedt  24:52  it just gets pushed so far down the priority list of things going on in your life and nobody's to fault for that because I mean, everyone's experienced with this last year has been wild. And I mean, nobody's experience has been the same. So I've heard, you know, some artists complaining, like, Oh, so and so these people aren't supporting us anymore. Like, it feels like this isn't worth it anymore. It's like, I get that I understand why you're feeling that. But you also have to put yourself in that in their shoes and understand why they're not. I mean, maybe they had a death in the family from COVID. Maybe they're sick themselves, maybe they're just like losing their damn minds, and just don't know what to do anymore. I had several people approach me over this last year that like, we really need to convert audiences into getting used to watching live streams, because this is going to be the new reality. And like this, and that we can do all these different things to make it more engaging. And at the end of the day, the people that were pitching these ideas weren't even watching or paying for the live streams themselves, they might like tune into a free one. But the moment like the artists can really monetize that and use it as a source of income is they got to charge just like a concert. When concerts are free artists in the venue, make very little money, when there's a cover charge, they're still making very little money, but it's better. And then you have the opportunity to sell merch and actually connect with the fans and get them to come back and multiply those crowds as time goes on the in person interaction that being in the same room with others. And experiencing the highs and lows of a musical set are the things that bond that group together. And all of a sudden, you've got 300 people in a room that are strangers that are all experiencing the same thing in the same way. And you know, they're high fiving each other and hugging and kissing on the way out, obviously pre COVID. ButLise Nox  26:33  definitely, you mentioned earlier that people you are trying to like adapt to the pandemic in the first few weeks or month by kind of selling more records online. And I just think it's really great that people were actually trying to support you guys, just like you mentioned, we've all been kind of struggling in our own ways during the pandemic. So I know that my first priority during this entire year wasn't to buy records or watch concerts online. And also, I feel like it's going to be a great opportunity for you guys to kind of expand your activity, because you mentioned that was a national kind of thing, you know, like selling records all around the country. Like are you going to keep doing this kind of thing after COVID is over?Adam Linstaedt  27:10  Oh, yeah, I mean, in November of 2019, we completely remodeled the second level, turned it into a record shop. So we are open up there from 11am till 7pm, seven days a week, and then we would convert over to shows at night. Right now we're open just Thursday through Sunday from 12 to six. So we're starting to ramp up towards getting back to more normal hours and get more activity going up up in there. And you know, it was it was really a really great scene, having people you know, browsing records peeking their head around the stacks, watching, you know, falling in love with a new act that they'd never heard of easy for them to see it because it's a free admission type show got a full bar people are hanging out, it was like a really cool, really cool scene. And then after four months of doing that it got stripped away completely. And it's like, okay, we had this great thing going on, we still have this record shop, we've got 30,000 records that we are just sitting on now we got to start selling online, and the online stuff has been really great. And we've developed a lot of relationships and deepen relationships with people that were already our customers. And now that we're starting to come back, we're keeping the online and we're trying to get more in person stuff going as people become more comfortable and get vaccinated and start venturing out of their cubby holes that they've been in for the last year. It seems like at this point with the way that vaccines are rolling out. And the way the numbers are starting to go down a little bit. It's very possible July or August, we might see things fully open. And we're back to full capacity shows and shoulder to shoulder and splitting and sweating it out with strangers like we did in the past.Lise Nox  28:35  Yeah, are you guys going to kind of try to make the shows evolve aggressively until the summer because I know you guys are only opened at 19% capacity right now. Do you see yourself like having 30% capacity shows? Because I know it's the maximum percentage, right?Adam Linstaedt  28:48  Well the maximum is up to 50% now yeah. So when you came to the show, we were allowed to be at 30%. But with going to a show, just like if you went to a movie, for example, and you got a seat where you couldn't see the screen, it wouldn't be a terribly enjoyable experience, right? So we could, in theory, put more people on the second level of the venue and push them back where they can't see the stage, but you can't see the stage and you're paying to see a show. So that kind of defeats the purpose. So in order to maintain distancing by our standards, which is a little bit provide a little bit more distance than the six feet that's mandated between tables to just provide that extra comfort level and a stage view. So looking at those two factors together, the maximum we can get to is 19%. So now we're allowed to be a 50% and getting all sorts of bands and booking agents hitting me up like alright, I heard 50% let's do this, you can do 140 people now is like, Well, no, because social distancing is still part of the mandate. And that's the reason until social distancing is not a revenue requirement anymore. We're going to keep operating in the way that we are once we are making plans for about a month and a half from now, to start extending the length of the shows a little bit like to show that you came to for Tumbao, those were 60 minute shows with one act, we're going to extend each show to 90 minutes. So basically add a second act with very minimal change over. So most of the time, it'll be a full band as a headliner, and maybe a solo or a duo act as an opener for 30 minutes, we can get them off stage very quickly, they're set up in front of the band already. So we don't have any big change overs, bringing gear down into the crowd and getting too close to customers or anything like that. And then we can just, you know, within two to three minutes, move on to the next band. So it's now a 90 minute show, instead of a 60 minute show.Lise Nox  30:33  It's really crazy as someone who was part of the audience, how I never like I know how much it takes to you know, keep everyone safe when you're trying to have this kind of event. But I never realized how many small details you have to think about to make sure that every single thing you do is safe. And you've been telling me about cleaning after every band and only choosing to have like one band at a time. So many things you have to think about because I mean, when I went to see Tumbao at Pour House at the beginning of March 2021, it felt weird to have like the venue being almost empty but at the same time. I'm pretty shy person. So if you tell me in the first place, like Oh, you're not allowed to dance or like, you know, jump around, I'm gonna be like, it's fine with me. I wasn't planning on dancing. If I just began my table, and like just enjoying the music and doing my thing, but yeah, no, I didn't mind having to follow all of those right, very strict rules that you guys have been implementing for the past few weeks.Adam Linstaedt  31:23  I mean, we can continue to wait until things are fully open, and then just dive back in at 100% go full force, or we could take some baby steps and get you out in front of that computer screen and actually get you back into the room feeling the music because going to show is more about feeling than anything you can see it on the screen, you can see it in person, it's the feeling that you get when you're in the room, the bass hitting you in the chest, and you know, the vibes that are just going on in the room, feeding off the energy of the other people, whether you're paying attention to them or not its in the air. And that's what that's why we do what we do is that experience of being in the room and collectively going through a moment of time that's memorable with others. And that's the baseline of what this whole experience of live music is all about to us.Lise Nox  32:05  Yeah, clearly. But since you guys were having so little people inside the venue, would you say it was easier for you to have the show since you had to, like, you know, take care of less people at the same time.Adam Linstaedt  32:15  No, because we're running things extremely differently. You know, I mean, we've always been high volume quick service bar, so customers would come to the bar to order their drinks. Now we're going to their tables and taking their order, we have paper menus at each table, people mark down the items that they want, they put it in a little metal stand. And when we see that little paper waving in the air, that's our sign to come and pick up their order. So we come and grab, grab it, bring it back to the bar, prepare those drinks, and then carry it out on a tray. I mean, we've never, we don't have cocktail service with what we run, people are coming up to us. And we're usually struggling to hear what they're trying to order. And then we make their drink as fast as possible and move on to the next one. Because there's you know, lots of people trying to get drinks, and we're doing band merch the same way. So to minimize the number of interactions that the band is having with customers, we're selling it for them. Since myself and our bartenders are already interacting with the crowds, it made better sense for us to sell their merch as well. So they're on each table, just like the bar menu, there's a little menu with the band merchandise and people can select what they want, put in a little metal stand. And when we see that we add it to their tab and bring them their t shirts and CDs and records and whatever it is that they wanted less work on the band's and more income for them because they're selling merchandise, we're not taking any sort of cut of that. So we're providing that service to just minimize the risk of getting anybody else potentially sick. And you know, that coupled with me personally seating every single person that comes through the venue explaining the rules to them. And once that's done and everyones sat I get up on stage and make an announcement and reiterate the rules say what is acceptable, what's not introduce the band, get back down start bartending and helping and clearing dishes and you know, the whole nine yards. It's exhausting. And then, you know, once that Show's over, we do it again and do a deep clean of the entire 5500 square foot venue in between the two shows, but it is really nice. I'm thankful that I had some formal theater training in the past, I used to work at Playmakers in Chapel Hill and I worked at the Old Globe Theatre in San Diego before I moved to Raleigh and American Dance Festival and Carolina theater for a little bit I really learned about how other types of live events run not everyone's like come in party, do what you want be on your phone, talk loud, most other forms of art you come in, you sit down and shut up and pay attention. Like I wrote, I had that experience and I was used to enforcing those things from the past. And we're already used to enforcing rules at the Pour House too. So it was just another layer of rules that were different than everyone was used to. So it's definitely been interesting getting folks in tune with that with this new flow of operations and I can guarantee what's gonna happen by the time everyone's like, Oh, Okay, I get it, then everything's gonna change and open back up. And we're not going to be doing things like this anymore. But at the same time, we've always had shows in the past that have lent themselves better to a seated environment, whether it's a an acoustic songwriter where silence is golden, or a jazz show or a folk show, something that is just more mellow, or maybe would attract a crowd that is a little bit older, and they appreciate the seats. So now we've got the operations down to accommodate those things, and we can amplify it a little bit more, maybe not have tables so spread out and bring in additional ones, and run shows in the same way that we are right now. So it's definitely forcing us to be more dynamic. And I think it's only going to be beneficial down the road for us to adapt how we present things based on what it is we're presenting.Lise Nox  35:35  Yeah, cuz I was gonna ask like, Once COVID is over, and you don't have to worry about masks or social distancing, or cleaning up the entire venue after every, like every set, I was gonna ask, are you going to do anything differently going forward, and it seems like you guys are gonna have more opportunities to have, you know, just like you said, lighter shows or like more intimate shows.Adam Linstaedt  35:57  Usually, when we've done seated shows in the past, we've done it more like rows of chairs, without tables, more of like a theater style seating. So we'll bring in 100 chairs or something like that, for the ground floor, maybe some standing room behind it with a few tables, and then general admission behind that at the bar. So people are still able to be fluid. But when you do shows like that, especially when you're in a row of 10 people, and you're in the middle and you want to get up and go get a drink, you're gonna probably question yourself, whether you should do that and interrupt all these seven people that you got to walk past in front of and then come back and how many times you actually going to get up and down. But with doing it with the tables like this, so it's kind of more like a jazz club or a comedy club type approach? I think it works really well. You know, we started a series with NC State live in 2019, we did a handful, maybe three or four shows with them in partnership, and something Those were all seated shows with the sporadic seating and row seating that I was speaking of before, but I was talking to Sharon, who runs the program over there yesterday, actually, like you should really come check out what we're doing now. I think it's gonna lend itself perfectly for the NC State live shows. And she's like, yeah, that's gonna sounds great, we should totally come and check that out. And it just, you know, people are always more comfortable with things they're familiar with. And certain crowds are more familiar with certain types of approaches than others. And it's a way to reflect what the crowd wants. That's our job as a venue is to make it comfortable for people and make it as fun for those people that are there that night. And I think having those seated shows like that is going to continue to be a thing in the future, we might lay off it a little bit for a while and just party as hard as we can, and you know, throw all the ragers. But whenever that whenever that happens, whenever it's safe. It's looking like the later this year, late summer, maybe in the fall, we should be back to rocking and rolling.Lise Nox  37:45  Do you have unless you don't want to talk about it? Because it's a surprise, or, you know, do you have anything planned for when things are gonna go back to normal to kind of celebrate, you know, venue being able to reopen normally?Adam Linstaedt  37:56  No, not at this point. Because if I've learned anything over this last year is the more you put plans down into place and start moving on them, you're going to have to change them. So we know how to run shows like that we're ready for it. It's when it's going to be it might be a Tuesday randomly, it might be a Friday night, a couple of weeks after we get the announcement that we can do things like that as we ride out things that are already in place on the calendar, since we know typically booked further out than this weekend, you know, we've got things on the calendar all the way up to January right now of stuff that was rescheduled from last yearLise Nox  38:28  really seems like the pandemic has kind of taught us all how to be more spontaneous and flexible with our time with our energy our plans, just like you said, Every time you as of right now every time you're going to plan something for the future, you're always going to think in the back of your mind, maybe its is not going to happen. Or maybe everything's gonna change or like my entire world is going to fall apart in like two months from now. So adapt to be changes really quick. It's what we've all been doing for all of 2020Adam Linstaedt  38:53  Yeah, early on in the pandemic, I was talking to someone I don't remember who you know, you seem to really be on top of things and like getting things rescheduled and getting things on the calendar, blah, blah, blah. I was like, Yeah, but you know, at the same time, I'm really trying to look at this, like we're a startup business, when you're a startup business, you don't really you might have a date planned for when you're going to open but there's always going to be surprises that pop up, you have to have this extra permit or you have to have this extra inspection or the plumbing inspector is making you move your toilet over a quarter inch to fall into compliance. So being flexible, having a plan and being able to adapt it in real time is key for everyone right now to maintaining sanity really Lise Nox  39:30  I think the positive things we can remember from this pandemic is like how we've all been able to evolve into new people or you know, just like or new ways to run our businesses, I guess.Adam Linstaedt  39:39  Yeah, hopefully it sticks for a lot of people because typically people tend to forget things very quickly and move on and fall back into old habits. So hopefully it is been long enough that there is a greater good that comes out of this all this downtime we've all had. Lise Nox  39:52  I can say even though you guys had to set really strict rules for your show. I remember having a great time. So thank you so much for making this possible because I'm a really big fan of like music. So spending an entire year without going to a concert and also having started the year 2020 thinking, Okay, this year is the year where I will be going to one concert per month. That's the thing I wanted to do for my 2020 and then having to spend the entire year locked up in my room and be like, not going to happen. Definitely not gonna happen. I just remembered that. So I moved to Raleigh a few months ago. And I remember the first time I went to Pour House, I had no idea what it was in the first place. Like my friend told me, Hey, we should go to pourhouse. I was like, yeah, sure, whatever that is. And she took me to the record shop upstairs. And at the time, I had no idea that you guys were actually hosting live shows, usually, you know, pre pandemic. And she's the one who showed me the stage. And she was like, Oh, my partner usually plays there. And I was like, wow, there's a venue here. Like, that's awesome and at the time, I was like, well, we're, you know, with COVID. and stuff, I'm never going to be able to see a concert anyways, like, good thing to know. But I'm probably going to beAdam Linstaedt  40:58  Thanks for rubbing it in.Lise Nox  41:00  Like, I'm glad to know this information, but I'm not going to be able to do anything about it. And fast forward two months later, I'm seeing a live show of her partner playing the bass on stage. And I'm like, Oh, it was just really, really fun to notice the evolution because we're kind of seeing the light at the end of the tunnel right now know, people are getting more and more vaccinated.Adam Linstaedt  41:18  I think its starting April 6th, or 7th anyone over 16 in North Carolina can get it. You can get it next week. Lise Nox  41:26  Oh, wow. That's, that's coming really quickly. Yeah, cuz I'd like to get vaccinated. And I, for some reason, for obvious reasons, I couldn't. But yeah, it's good to know. So yeah, Adam Linstaedt  41:36  They've fast tracked a lot of things. And yeah, I believe it's the sixth or the seventh, anyone over the age of 16 is eligible. Okay, yeah, I got my second shot on Wednesday, and my wife just got her second shot this morning. That's great. So we're moving, we're moving towards it. And you know, once everyone that works for the venue, is vaccinated, and we're past that two week after, after getting your second shot time period, we are going to be a little bit more flexible with the masks, we're obviously still going to encourage people to keep them on the entire time they're inside the building, but we're gonna fight with them less about it. So if someone feels the need to sit down and take their mask off, and stay in their spot and follow all the other rules, keep their mask off while they're drinking, we're going to allow it at that point in time. But right now, if any of us get sick we had 17 employees when we closed down, and now we're we have 4, so if any of us get sick, we're gonna have to cancel shows for the next month, which is putting all these bands out of work, putting them out of work, we're just doing everything, we can definitely not make that happen. So we'll feel a little bit more comfortable with it once everyone's got their vaccinations fully in their systems. And, you know, hopefully everyone else follows suit and gets their shots as well. And we can get back to this sooner than later since I mean, it's the floodgates are opening next week,Lise Nox  42:53  it definitely matters more than anything that your team is safe first, because for people running the shows, like did you have to let go that many people because of like the debt?Adam Linstaedt  43:02  Well, I mean, that's how many people we need to run shows right now. Okay, so I've got my sound engineer, our door person, and two people working behind the bar plus myself managing so there's four people working than me managing and we're able to make it work with 54 people in the room, that's a fine number for us to deal with. So as things ramp up, we're going to start bringing back more folks, I have a separate person that's running a record shop during the daytime for those hours, technically five people back of the 17 that we had when we closed down initially,Lise Nox  43:34  okay, yeahAdam Linstaedt  43:34  But yeah I mean, we were we had the record shop opened 56 hours a week, we're doing shows seven nights a week with multiple bands, you know, often we would have four or five bartenders on any night, sometimes additional security on the floor, always a manager on duty. So just the need for more people right now isn't there and it wouldn't be fair to bring back more people and cut everyone's money down and then go, we should have stayed on unemployment, we would have been making more money that way, even though people want to get back to work. So it's been a balancing act for sure. We definitely have more folks that we're ready to bring back once restrictions get loosened a little bit. And we're able to bring more bodies in and justify the cost and having more people workingLise Nox  44:13  if you only have to deal with like 40 people like 44 people at the same time, it seems you know, reasonableAdam Linstaedt  44:18  Right, normally, in the before times, if we had a show where you know, 40 or 50 people showed up, that would be a one bartender night because they're not having to go out and run all over the place and cocktail and get their bills. 20,000 steps in in a couple hours. They're behind the bar, people are coming to them, which is a lot more easy to manage than it is with this other process. But yeah, that's where we're at right now. And I have full intentions of getting back to bigger and better places than we were before.Lise Nox  44:42  Hopefully by this summer 2021. That would be awesome. The rebirth of Pour House. Finally,Adam Linstaedt  44:47  yeah, it's coming.Lise Nox  44:49  Yes, it definitely is. I think I've covered pretty much everything I wanted to talk about. Is there anything else you want to add?Adam Linstaedt  44:56  Just let folks know that we're announcing new concerts every Tuesday at noon. So if you pay attention to our social media on Facebook or Instagram, or you get our newsletter that we send out, those are the main places that we're announcing those shows on the record shop side of things, we put out new and used releases every Friday at 10am. online at pourhouserecordshop.com they're obviously available in shop starting at noon, and just kind of keep an ear out for us. Because we're always adding more things, we're always announcing more events. And hopefully soon we're going to announce that things are changing for the better. And we're moving in the direction of not having to be so strict and we can loosen up because at the end of the day, people come and hang out with us to cut loose from life not to follow more rules their here to have fun were very much ready to get back to that. So in the meantime, we're just going to make this as fun as we possibly can and as enjoyable as we possibly can, with the hope of being able to shift back to how things were before and being more fluid of an experience.Lise Nox  45:56  Yeah, and I feel like this interview and the article I wrote, are going to be pretty good proof for people that their shows are safe. So if you want to have fun, if you want to forget about the pandemic for an hour, one night, you can you're not going to get sick with COVID, it's fine, you can go to a concert, like with a clear conscience,Adam Linstaedt  46:14  Right totally. And on that same on that same note we've got, because we're largely selling all of our tickets in advance. So we have contact information for at least one person in every single group that's coming to the venue. And we've asked in all of our terms, hey, if you or anyone in your group gets sick with COVID, within two weeks of being here, let us know. So we can let everyone that was at that show know. So they can, you know, squash it and you know, isolate and do the things that they're supposed to do to help slow the spread of this thing. The answer is to slowing it down are just so painfully obvious. And it's so hard to watch everything happen that are just flying in the face of it and flying in the face of logic. It's really frustrating. We could have been back to rocking and rolling a long time ago if everyone just you know, did what they were supposed to do and were responsible but that's not the world we live in unfortunately.Lise Nox  47:03  Definitely not thank you so much for taking the time to talk to me about this this the kind of information that I think a lot of people are going to be benefiting from people are going to know what it's like with you telling us about Pour house and everything had to go through and how you're running the shows right now. Like it's just really great information. So thank you so much for taking the time to talk about this with me.Adam Linstaedt  47:22  Yeah, absolutely. I appreciate you putting it at the forefront and letting folks know and if anyone has any questions or concerns or hesitations about coming out to a show or coming to the shop you know we're an open door people can email me my email is adam@The-Pour-House.com You can also reach out to Nick his emails the same but it's Nick you can reach out to Lacey the same but L A C I E, our phone numbers 919-821-1120. Call us we're happy to talk and ease your mind a little bit. And if we can't convince you that it's safe now we hope that you come back when you feel more comfortable.Lise Nox  47:59  Thank you so much for listening to this episode of Eye on the Triangle. This is Lise Knox for WKNC 88.1. My guest was Adam Linstaedt from Pour House Music Hall, and he did a really great job in explaining what it's really like to be hosting COVID safe shows in the middle of a pandemic. Thank you so much for listening once again and I guess I'll see you soon. Take careTranscribed by https://otter.ai

FULL TRANSCRIPT OF EPISODEProvided by Otter.aiEoin Trainor  0:00  The views and opinions expressed in Eye on the Triangle do not represent WKNC or the student media.Good evening Raleigh and welcome to this week's episode of Eye on the Triangle on WKNC 88.1 FM HD one Raleigh, I'm Eoin Trainor. On tonight's episode contributor Elizabeth Esser will sit down with Caroline Rocheleau to talk about the North Carolina Museum of Art's new exhibit on golden mummies. And then a little later contributor Lise Knox will discuss live music during the pandemic with Adam Lindstaedt, owner of the local venue the Pour House. Stay tuned.Elizabeth Esser  0:51  I'm Elizabeth Esser with WKNC 88.1 Eye on the Triangle. Today I am speaking with Caroline Rocheleau, curator of ancient art and Director of Research at the North Carolina Museum of Art to talk about the new golden mummies of Egypt exhibition that opened on March 6. Miss Rocheleau, thank you for joining us on Eye on the Triangle.Caroline Rocheleau  1:11  Well, thank you for inviting me Elizabeth Esser  1:12  To get things started can you just tell us a little bit about yourself and your position at the North Carolina Museum of Art.Caroline Rocheleau  1:19  I am director of research and also curator of ancient art, which is I guess, my primary role at the museum. I take care of all the ancient things from ancient Egypt, to the Mediterranean like Greece and Rome and also the ancient Americas but I have a colleague working with me on those last collections.Elizabeth Esser  1:38  What can visitors expect from golden mummies of Egypt?Caroline Rocheleau  1:42  Well, I'll tell you a little secret. Since I started working at the museum about 15 years ago, people have been asking me, when are we going to have mummies? When are you going to bring an exhibition of mummies because we don't have any in our collection. And the second they found out that I was a trained Egyptologist, they thought, Oh, well, she's the person to get us some mummies. So what they can expect to see in Golden mummies of Egypt is mummies. However, we're focused on a very specific cultural period. And that's the end of Egyptian history, when Egypt was ruled by the Greeks and the Romans, so the mummies are not going to look like King Tutankhamun, for example, that's sort of an image that people have in their mind. So it's not going to be that they're still mummies. But there's cultural and artistic influence at that time that's coming from elsewhere in the Mediterranean, and you will see the Egyptians wearing like Roman hairstyles and togas and things like this. So on the outside, they look different on the inside, they're the same.Elizabeth Esser  2:48  So the exhibition focuses on the Greco-Roman period. So what was unique about this particular period? And how do we see that translated in the exhibition?Caroline Rocheleau  2:59  So Egypt has always been a multicultural environment, because of where it's located, you know, northeast Africa, but attached to Western Asia and like the, what we call today, the Middle East, and with access to the broader Mediterranean, now you really see it even more, because Egypt becomes part of other empires that have even further wider reaches. And if you think of just a Roman Empire, the fact that Roman Egypt is on par with Gaul with Roman France, is sort of mind boggling, you know, insert mind blowing emoji here, when you put that into perspective it's like, wow, other countries are as old as Egypt. And Egypt is now part of a much, much bigger network than it was before. So you do see as I mentioned earlier, those cultural influences coming in, because it's all part of the Empire. The Empire is very diverse. It runs from Western Asia, all the way through Western Europe, and the British Isles. So it's, it's quite bigger than Egypt at its height ever was. So you do see those influences? What does curating an exhibition during a pandemic look like? The curating part was not done by me because we this is a traveling exhibition. So it came. It's an exhibition that is circulated by Nomad Exhibitions based out of Scotland and the collection that is being presented is that of Manchester Museum in the UK. So my colleague there, Campbell Price, and Nomad Exhibitions worked together to curate the exhibition. That being said, installing an exhibition during a pandemic is something that nobody had ever done before. And this was complicated by the fact that people from Nomad and people from Manchester were supposed to come travel to North Carolina to install the cases and put the objects in the cases, because of the pandemic and the travel restrictions, nobody could travel. So it was a whole bunch of zoom meetings, phone calls, we had a WhatsApp, you know messaging group, because we're, they're basically helping us remotely put the cases together things we'd never put together before. The material that's you handle any material the same way. So that's not so much of an issue but it was trying to do all of this by ourselves when we were originally supposed to assist. So it was a lot trickier and you're in there with your mask, and you're putting in the objects and you're you're trying to stay six feet apart. That's impossible. So it's very nerve wracking at the same at the same time, but we pulled through, and it looks absolutely fabulous. But it was quite a challenge.Elizabeth Esser  6:06  I understand that the triangle area is celebrating this exhibition along with the museum. Can you tell us a little bit about the community collaborations with the Golden Mummies of Egypt,Caroline Rocheleau  6:16  We actually have a few goodies in various restaurants. And so we have places in Raleigh and Chapel Hill, for example, good day, good night at Origin Hotel in Raleigh. They have a cocktail called Gold of Egypt. There's another one called a golden goddess cocktail that's in Chapel Hill at Honeysuckle Lakewood, there's a bunch of different things. We even have chocolate, custom packaged sea salt chocolate, available at our museum, or I should say, our exhibition store, which is as you come out of the exhibition, it's it's right there, that's Videri Chocolate Factory, and they sell it at their store as well. Even in the store, we do have some goodies related to this bartending cocktail mix that we have. And we also have a candle that where the scent was made exclusively for us. And it's inspired by golden mommies. So that's actually kind of fun. Like you don't really see that in like exhibition stores something custom made like a candle. For example, Honeysuckle Tea House has Egyptian sunset tea made with chamomile, lemon balm, fall gold, ginkgo leaf, gingerroot, and oatstraw. That just kind of sounds nice, actually. So those are the kinds of partnerships that we have with local places like restaurants and tea houses and chocolates, like what could be better a cocktail, some chocolates after you visit the exhibition. That's awesome to me.Elizabeth Esser  7:47  What is your favorite part of the exhibition?Caroline Rocheleau  7:50  Goodness, I have lots of it's like asking for my favorite child. There's lots of different things that I like about the exhibition. I like that we are that we have mummies that people can finally see mummies, like I mentioned, we do not have any in our own collection. But I like also that the exhibition is more than just about mummies that we talk about multiculturalism, we still talk about, what is mummification? Has it changed or not during the Roman period? And a little bit you see this hinted in the exhibition, but there's a catalog also that accompanies it. And we dive into other themes like colonialism as well, because the discovery was made at the height of the British Empire. So how does that play how the objects that were discovered in Egypt ended up in Manchester Museum, for example. And that's one of the reasons I mean, I've been looking for a mummy exhibition for a little while. This one really caught my interest because it was more than just about mummies, but it was also about bringing transparency to how collections have been formed. And that sort of thing. So it was sort of hitting multiple boxes on the best mummy exhibition to bring to the the NCMA. Elizabeth Esser  9:04  Finally, is there anything else that you would like listeners to know about Golden Mummies of Egypt?Caroline Rocheleau  9:09  Well, it is awesome, first of all, so that's the first point. And what I like to our marketing team, we have this little more I'm going to call it a little ad that said that says mummies wear masks too, because you will see a lot of masks and portraits in the exhibition. And yes, these do identify like, Oh look, this is a human mummy. But these are also used as protection, just like the layers of wrapping around the mummy that's for protection. So those mummy masks that you see in the exhibition to offer protection. So wear your mask, do like the mummies, and come see golden mummies of Egypt. Elizabeth Esser  9:47  Golden mummies of Egypt is open from now until July 11. Tickets are $20 for non member adults $17 for seniors and $14 for youth ages 7 to 18 students get in free with their college ID Every Friday from 3 to 5pm with a reserved ticket which can be received through contacting help@NCArtmuseum.org reporting for Eye on the Triangle. This is Elizabeth Esser.Lise Nox  10:15  The views and opinions expressed during Eye on the Triangle do not represent WKNC or student media.Hi, this is Lise Knox, and you're listening to Eye on the Triangle. After spending all of 2020 without seeing live music because of the COVID pandemic the emblematic Raleigh music venue the Pour House House Music Hall started hosting live shows again as of March 2021, I went to one of their COVID safe concerts to see the Latin rock band Tumbao play live on the fifth of March 2021. And I ended up writing about my experience for WKNC's blog, in an article called "I went to a COVID safe concert after one year without any live shows." Adam Linstaedt, owner of the Pour House Music Hall and record shop read my article and thought it would be interesting for him to talk more in depth about what it's really like for a music venue to be hosting COVID safe shows while Raleigh is still affected by the pandemic. I'm really glad we're having this conversation today because I wrote an article a few weeks ago that apparently you've read about me going to a COVID concert at Pour house, which is a very weird experience but really cool experience. So today we're going to be talking about what it's like to be hosting these kind of shows in the middle of a pandemic, because for a lot of people, it can seem kind of weird to be, you know, going to concerts. But before we dive into this very specific topic, I just wanted to like know how it was like for you guys to be going through this pandemic as a venue, you know, like a local business, how are you guys able to survive the pandemic in the first place,Adam Linstaedt  11:51  It was extremely stressful. It still is we're only partially back at this point. But it was just from day one, watching the money in our bank account just dwindle on a daily basis for a venue like ours when we're closed completely not doing anything, the lights are off, it cost $500 a day. And we were closed for 355 days without doing shows. So for all you math majors out there, you know, you can figure that out really quickly of how much we lost. We had nowhere near that amount when we went into the pandemic either we relied heavily on donations, on grants from the city and state and other organizations we've taken out several loans. So yeah, I mean, we've acquired another $400,000 of debt since this time last year just to stay afloat to make sure we don't go anywhere. And now there's some light at the end of the tunnel knock on wood. The venue grant that passed in December through Congress is becoming available the applications opening on April 8, which will be a huge Lifeline not just for us, but for all independent music venues across the country. It'll basically help bring us back to close to zero, which is way better than being a large negative number. There has been days over this last year where it's like, Alright, we got this, we got to figure it out. We're gonna do this, this and that. And then the next day you're like curled up in a corner crying like what the hell am I doing? Why am I doing this? Oh my god, this is such a terrible idea. So it's definitely been an emotional roller coaster, us more than other venues, we're in a slightly better position. So in November of 2019, we converted the second level of the music venue into a record shop. So we've had that open the whole time. Once we closed down, we converted all of our inventory to try selling online the first couple weeks, you know, we basically just had an Excel spreadsheet that we made public that people would tell us what they wanted, they would come to curbside pickup we delivered to their houses, ship it in the mail. And after a few weeks of doing that it was really confusing for everyone and not terribly accurate on our end, since it was like a panic mode. Like we got to do this now. So we can stop the bleeding a little bit. So we launched the true website. It's still active, Pourhouserecordshop.com, and we released new stuff every Friday new and used. And we really developed a great online following and are now selling nationally to all 50 states and several countries as well. So that's been huge for us. It's basically helped sustain us, it's definitely not making us money, but it's you know, making the losses every month a lot less. The intention of the record shop was never to pay for a 5500 square foot building and prime real estate of downtown. There's a reason you don't see places like that very much across the country anymore. It was really a way to provide more services to our customers be open more and use our square footage in a better way. I guess, rather than only using the building at night for a few hours. You know, we wanted to try to use it, you know, 16 hours a day and we had the record shop open. We got a full bar up there. We were doing shows free shows on Saturday and Sunday three to five sets every Saturday and Sunday afternoon up in the record shops. It was really becoming a great thing and then the shutdown happened and everything got wiped out. And really in order for us to get back to doing those types of things. Again, we're going to have to be back with no restrictions whatsoever because it's a pretty small space up there even right now with the show that you went to and that we've been Running on Fridays and Saturdays, it's running at 19% capacity, we normally hold 289 people, we're now letting 54 people in at a time into a big space. They're seated shows, I'm personally bringing everybody in and bringing them to their table, giving them the rundown of how shows are running the expectations that this is a seated show that you should really think of this as going to a movie or a comedy club, you're sitting back and enjoying the show, we're bringing everything to you, there's no reason for you to be up wandering around anything like that, unless you're using the restroom or needing to step outside for whatever reason. Otherwise, if people are just starting to wander around, they see friends at different tables, we talked to them, if they continue to not follow the rules, we kick them out without a refund. Luckily, that hasn't had to happen yet, I'd say 95% of people have been great. And they understand they're, you know, following our protocols, no problem, there's a small group of people that don't want to wear masks, they'll come in, you know, the moment they get inside, they're taking it off. And because you're inside now that COVID is gone, it doesn't make sense. So we are enforcing the mask rule more strictly than say, like a restaurant or a store, we're requiring people to keep it on the entire time, the only time they can take it off is you know, for a drink, they can pull it down, take a sip of their drink, then put it back on. And if people aren't doing that, we ask them to comply. And if they continue to cause a problem, we ask them to leave. We've had a couple people leave on their own, and on their way out calling me a mask Nazi and all this fun stuff. So like cool, like you can have a great day, you know,Lise Nox  16:24  it's like we've been independent for over a year. Now, you should know you're supposed to wear your mask. It's like, you know, basic guidelines for COVID.Adam Linstaedt  16:31  Yeah, there's this strange dichotomy happening because the Pour houses in other music venues are considered private clubs. So like your regular bar that doesn't serve food, it's not part of a brewery, not part of a hotel, not part of the winery, we've been the only classification of bars in the state that hasn't been able to be open, all the other ones have been open since May of last year. So a lot of people have been going out for 10 months at this point. And all those places, you know, you go into a brewery, you go into a restaurant, you wear your mask in, and then you sit down and then you can take it off for two hours and not have to put it back on, getting those people used to the fact that they have to keep it on it feels they feel like they're getting their rights or whatever squashed, blah, blah, blah, but it's our house our rules. And really what the mandate says is, if you're not drinking, you have to be wearing a mask. And we interpret that as if you're not physically drinking, not just sitting there with a drink in front of you that's not drinking, you got to have a mask on. And we're keeping the show short right now to reduce the amount of time that people are in room lessen the exposure risk. So normally, we would have anywhere between two and four bands every night, we're now running one band playing one set for 60 minutes. So people are in and out pretty quickly. And then we turn the house do a deep clean and then do a second show with the same artist. So we're not you know, having multiple bands sharing the stage and having to do deep cleans of the equipment for the artists in between sets. And we've got, you know, plastic shields on all the microphones for when singers are singing, it provides extra protection from them spraying their spit out into the audience. And you know, we're doing everything we possibly can in our powers to do it right and make sure it is a safe experience. In my opinion. I've heard it from countless people that have been to shows already, they felt safer coming to a show with us than going to the grocery store or going to a restaurant or going to this place or that place because the rules are so strictly enforced. Lise Nox  18:15  Yeah, as someone who actually went to a show, I could tell that the venue really looked empty. But at the same time, I was like, I'm glad I have enough space around me to you know, not feel like someone's going to infect me with COVID or something I felt safe. And it was really weird. When my friend told me Oh, actually my partner plays the bass in a band. Do you want to go see him play live? I was like, why would I ever go to a concert like that seems like that most unsafe thing to do. And when I was actually at Pour House, I was like, everything is so much safer than me going to like the grocery store or any other place. So you guys have been doing a really great job of keeping everyone safe props to you guys like that.Adam Linstaedt  18:50  Thank you very much. Yeah, safety and experience for not only the patrons for the bands and my staff as well have always been top priority even before COVID. You know, obviously, it looked different before but the mentality was always there in trying to make it as fun as possible for everyone involved in as safe as possible for everyone involved. And that's just really carried over. I mean, we had these plans in place ready to go in at the beginning of April 2020. We knew what we had to do in order to put on a safe show. Because you know, in the beginning it was it was like on a three week rolling basis. It's like you might be able to open in three weeks. So get ready and then three weeks would come we're like okay, it's another three weeks and kept snowballing on and on and on and on. And then by the time we got to after Halloween into November the numbers were going crazy. So I was like, you know, I'm stopping I can't keep replanning and retooling everything every couple weeks its driving me crazy. I'm getting pretty grey now and I wasn't before. But you know, and then all of a sudden Cooper made the announcement that we could open. It kind of blindsided us we weren't exactly ready for it. And honestly, we didn't think that it was the appropriate time but also at the same time we felt we had safe plans and places have been open for 10 months except 1000 businesses in the entire state. So we felt we could do it safely and properly and provide that Pour House experience, even though in a different fashion, we felt we could do it in a safe and enjoyable way.Lise Nox  20:11  And it was probably even safer at Pour House than any other bar, because I remember going to bar once. And just like you said, People usually tend to like take off their mask to drink. And for two hours, they don't put it back on, we're just not wearing our mask and drinking beers at a bar so. We're just like, not in a pandemic anymore, you know, feels like we're not Adam Linstaedt  20:31  Totally yeah, and you know, there was so much language early on, like concerts are the most dangerous thing you could possibly do on the face of Earth anymore. And everyone's like, concerts. It's the devil's play right there. You can't, you can't mess around with it. And at the same time, during the pandemic, there's comedy shows, and there was concerts happening at places that serve food, it was okay if there was food, so you had to have your mask off and flap your mouth more so more spits flying out into the air that was safer rather than people just sitting down paying attention to what's happening in front of them with a mask on so I mean, the the way it was cut up felt extremely unfair. I do feel like we did our part in doing everything we could to step back and you know, alleviate any sort of pressure that's put on the system for people getting sick. Obviously, that's the last thing we want for anybody. We want this to just go away and nobody else gets infected. But that's not the reality we live in. And but it also got to a point where it's like we were the first ones to jump back into the you know, from the quote unquote, true music venue side of things in the area, we were the first ones to just jump back in. I feel like we've set the bar for expectations for people coming to concerts and what it needs to look like in order to feel safe and comfortable.Lise Nox  21:38  Yeah, cuz it really looks like you guys had been like preparing for COVID safe shows for a long time, because you were able to do it in a way that felt safe professional, and you didn't forget about any detail. I mean, when it comes to COVID guidelines, so that was really impressive to be able to adapt that quickly. You know, like I've seen many record labels and artists have online shows for their audience to watch. Is this something you've ever done with bands who usually play at Pour House during 2020? Adam Linstaedt  22:05  Yeah, for sure. We did probably 20 or 25 live streams over the last year. The first one we did was very early on. Right after John Bryant passed away. We did a tribute to John Bryant with that's when people were still on full lockdown and they're still at their houses. Nobody was coming to the Pour House. We had 8 different acts like BJ Barnum from American aquarium, Kate Rhudy, John Howard Jr, who's playing tonight at the Pour House and a bunch of other really great acts that are influenced by John Bryant. And they each played three songs, nobody replicated songs and we switched myself and one other person we controlled the stream from the Pour house and you know tuned into John Howard's house and over to BJs house then over to Kate's house, and it was like a continuous thing. And it was a really beautiful tribute and you know, tons of people tuned in at that time we were doing it as a fundraiser for the Raleigh music venue employee fund that we started to try to get some dollars in the pockets of all the people that work at Pour House, Lincoln's, Slim's, Kings, and Wicked Witch raised some good money during that for the crews. And then over time, we started doing more in person like Arson Daily and Jack the Radio and Shame did something and a bunch of other artists, Reese McHenry, and over time like as the pandemic ticked on, more and more, the number of people tuning in started going down, I definitely feel like there was like a live stream fatigue happening. I've spoken with several other event producers around the country. And they've seen very similar things. It seems that the most successful live streams are from bands that have a much larger national or international fan base. They're doing it on their own. They're not necessarily streaming from a place for this specific reason. They're just connecting with their, their audience, it was never really an intention for us to make money from it, it was more of a way to be like, Hey, we're going to be gone for a year. Don't forget about us. We're still here. Like, we're still doing these things over here. And we're ready for you when when this is all over. So it was really just a way to try to stay fresh in people's minds. Lise Nox  24:00  Yeah, I feel like the one positive thing that we can all kind of get from this entire pandemic is how we've all kind of learned how to use technology in new ways. You have online shows, which is something you've never would have thought of before the pandemic because if you're going to go to a concert, you're going to go in person, like why would you watch music through computer in the first place? Yeah. And also Yeah, about the, like livestream fatigue. I feel like a lot of people have spent their entire 2020 working from home on their computer, you know, having zoom calls all day. No, the last thing you want to do after an entire day seated at your computer at your desk is watch the live stream again at night. I don't think I've watched any live stream during the pandemic because I was really I wasn't really up to date with everything that was going on, like this, but I think I would have watched one if I kind of knew because I was so caught up in like work and you know, trying to survive a pandemic, I guess but yeahAdam Linstaedt  24:52  it just gets pushed so far down the priority list of things going on in your life and nobody's to fault for that because I mean, everyone's experienced with this last year has been wild. And I mean, nobody's experience has been the same. So I've heard, you know, some artists complaining, like, Oh, so and so these people aren't supporting us anymore. Like, it feels like this isn't worth it anymore. It's like, I get that I understand why you're feeling that. But you also have to put yourself in that in their shoes and understand why they're not. I mean, maybe they had a death in the family from COVID. Maybe they're sick themselves, maybe they're just like losing their damn minds, and just don't know what to do anymore. I had several people approach me over this last year that like, we really need to convert audiences into getting used to watching live streams, because this is going to be the new reality. And like this, and that we can do all these different things to make it more engaging. And at the end of the day, the people that were pitching these ideas weren't even watching or paying for the live streams themselves, they might like tune into a free one. But the moment like the artists can really monetize that and use it as a source of income is they got to charge just like a concert. When concerts are free artists in the venue, make very little money, when there's a cover charge, they're still making very little money, but it's better. And then you have the opportunity to sell merch and actually connect with the fans and get them to come back and multiply those crowds as time goes on the in person interaction that being in the same room with others. And experiencing the highs and lows of a musical set are the things that bond that group together. And all of a sudden, you've got 300 people in a room that are strangers that are all experiencing the same thing in the same way. And you know, they're high fiving each other and hugging and kissing on the way out, obviously pre COVID. ButLise Nox  26:33  definitely, you mentioned earlier that people you are trying to like adapt to the pandemic in the first few weeks or month by kind of selling more records online. And I just think it's really great that people were actually trying to support you guys, just like you mentioned, we've all been kind of struggling in our own ways during the pandemic. So I know that my first priority during this entire year wasn't to buy records or watch concerts online. And also, I feel like it's going to be a great opportunity for you guys to kind of expand your activity, because you mentioned that was a national kind of thing, you know, like selling records all around the country. Like are you going to keep doing this kind of thing after COVID is over?Adam Linstaedt  27:10  Oh, yeah, I mean, in November of 2019, we completely remodeled the second level, turned it into a record shop. So we are open up there from 11am till 7pm, seven days a week, and then we would convert over to shows at night. Right now we're open just Thursday through Sunday from 12 to six. So we're starting to ramp up towards getting back to more normal hours and get more activity going up up in there. And you know, it was it was really a really great scene, having people you know, browsing records peeking their head around the stacks, watching, you know, falling in love with a new act that they'd never heard of easy for them to see it because it's a free admission type show got a full bar people are hanging out, it was like a really cool, really cool scene. And then after four months of doing that it got stripped away completely. And it's like, okay, we had this great thing going on, we still have this record shop, we've got 30,000 records that we are just sitting on now we got to start selling online, and the online stuff has been really great. And we've developed a lot of relationships and deepen relationships with people that were already our customers. And now that we're starting to come back, we're keeping the online and we're trying to get more in person stuff going as people become more comfortable and get vaccinated and start venturing out of their cubby holes that they've been in for the last year. It seems like at this point with the way that vaccines are rolling out. And the way the numbers are starting to go down a little bit. It's very possible July or August, we might see things fully open. And we're back to full capacity shows and shoulder to shoulder and splitting and sweating it out with strangers like we did in the past.Lise Nox  28:35  Yeah, are you guys going to kind of try to make the shows evolve aggressively until the summer because I know you guys are only opened at 19% capacity right now. Do you see yourself like having 30% capacity shows? Because I know it's the maximum percentage, right?Adam Linstaedt  28:48  Well the maximum is up to 50% now yeah. So when you came to the show, we were allowed to be at 30%. But with going to a show, just like if you went to a movie, for example, and you got a seat where you couldn't see the screen, it wouldn't be a terribly enjoyable experience, right? So we could, in theory, put more people on the second level of the venue and push them back where they can't see the stage, but you can't see the stage and you're paying to see a show. So that kind of defeats the purpose. So in order to maintain distancing by our standards, which is a little bit provide a little bit more distance than the six feet that's mandated between tables to just provide that extra comfort level and a stage view. So looking at those two factors together, the maximum we can get to is 19%. So now we're allowed to be a 50% and getting all sorts of bands and booking agents hitting me up like alright, I heard 50% let's do this, you can do 140 people now is like, Well, no, because social distancing is still part of the mandate. And that's the reason until social distancing is not a revenue requirement anymore. We're going to keep operating in the way that we are once we are making plans for about a month and a half from now, to start extending the length of the shows a little bit like to show that you came to for Tumbao, those were 60 minute shows with one act, we're going to extend each show to 90 minutes. So basically add a second act with very minimal change over. So most of the time, it'll be a full band as a headliner, and maybe a solo or a duo act as an opener for 30 minutes, we can get them off stage very quickly, they're set up in front of the band already. So we don't have any big change overs, bringing gear down into the crowd and getting too close to customers or anything like that. And then we can just, you know, within two to three minutes, move on to the next band. So it's now a 90 minute show, instead of a 60 minute show.Lise Nox  30:33  It's really crazy as someone who was part of the audience, how I never like I know how much it takes to you know, keep everyone safe when you're trying to have this kind of event. But I never realized how many small details you have to think about to make sure that every single thing you do is safe. And you've been telling me about cleaning after every band and only choosing to have like one band at a time. So many things you have to think about because I mean, when I went to see Tumbao at Pour House at the beginning of March 2021, it felt weird to have like the venue being almost empty but at the same time. I'm pretty shy person. So if you tell me in the first place, like Oh, you're not allowed to dance or like, you know, jump around, I'm gonna be like, it's fine with me. I wasn't planning on dancing. If I just began my table, and like just enjoying the music and doing my thing, but yeah, no, I didn't mind having to follow all of those right, very strict rules that you guys have been implementing for the past few weeks.Adam Linstaedt  31:23  I mean, we can continue to wait until things are fully open, and then just dive back in at 100% go full force, or we could take some baby steps and get you out in front of that computer screen and actually get you back into the room feeling the music because going to show is more about feeling than anything you can see it on the screen, you can see it in person, it's the feeling that you get when you're in the room, the bass hitting you in the chest, and you know, the vibes that are just going on in the room, feeding off the energy of the other people, whether you're paying attention to them or not its in the air. And that's what that's why we do what we do is that experience of being in the room and collectively going through a moment of time that's memorable with others. And that's the baseline of what this whole experience of live music is all about to us.Lise Nox  32:05  Yeah, clearly. But since you guys were having so little people inside the venue, would you say it was easier for you to have the show since you had to, like, you know, take care of less people at the same time.Adam Linstaedt  32:15  No, because we're running things extremely differently. You know, I mean, we've always been high volume quick service bar, so customers would come to the bar to order their drinks. Now we're going to their tables and taking their order, we have paper menus at each table, people mark down the items that they want, they put it in a little metal stand. And when we see that little paper waving in the air, that's our sign to come and pick up their order. So we come and grab, grab it, bring it back to the bar, prepare those drinks, and then carry it out on a tray. I mean, we've never, we don't have cocktail service with what we run, people are coming up to us. And we're usually struggling to hear what they're trying to order. And then we make their drink as fast as possible and move on to the next one. Because there's you know, lots of people trying to get drinks, and we're doing band merch the same way. So to minimize the number of interactions that the band is having with customers, we're selling it for them. Since myself and our bartenders are already interacting with the crowds, it made better sense for us to sell their merch as well. So they're on each table, just like the bar menu, there's a little menu with the band merchandise and people can select what they want, put in a little metal stand. And when we see that we add it to their tab and bring them their t shirts and CDs and records and whatever it is that they wanted less work on the band's and more income for them because they're selling merchandise, we're not taking any sort of cut of that. So we're providing that service to just minimize the risk of getting anybody else potentially sick. And you know, that coupled with me personally seating every single person that comes through the venue explaining the rules to them. And once that's done and everyones sat I get up on stage and make an announcement and reiterate the rules say what is acceptable, what's not introduce the band, get back down start bartending and helping and clearing dishes and you know, the whole nine yards. It's exhausting. And then, you know, once that Show's over, we do it again and do a deep clean of the entire 5500 square foot venue in between the two shows, but it is really nice. I'm thankful that I had some formal theater training in the past, I used to work at Playmakers in Chapel Hill and I worked at the Old Globe Theatre in San Diego before I moved to Raleigh and American Dance Festival and Carolina theater for a little bit I really learned about how other types of live events run not everyone's like come in party, do what you want be on your phone, talk loud, most other forms of art you come in, you sit down and shut up and pay attention. Like I wrote, I had that experience and I was used to enforcing those things from the past. And we're already used to enforcing rules at the Pour House too. So it was just another layer of rules that were different than everyone was used to. So it's definitely been interesting getting folks in tune with that with this new flow of operations and I can guarantee what's gonna happen by the time everyone's like, Oh, Okay, I get it, then everything's gonna change and open back up. And we're not going to be doing things like this anymore. But at the same time, we've always had shows in the past that have lent themselves better to a seated environment, whether it's a an acoustic songwriter where silence is golden, or a jazz show or a folk show, something that is just more mellow, or maybe would attract a crowd that is a little bit older, and they appreciate the seats. So now we've got the operations down to accommodate those things, and we can amplify it a little bit more, maybe not have tables so spread out and bring in additional ones, and run shows in the same way that we are right now. So it's definitely forcing us to be more dynamic. And I think it's only going to be beneficial down the road for us to adapt how we present things based on what it is we're presenting.Lise Nox  35:35  Yeah, cuz I was gonna ask like, Once COVID is over, and you don't have to worry about masks or social distancing, or cleaning up the entire venue after every, like every set, I was gonna ask, are you going to do anything differently going forward, and it seems like you guys are gonna have more opportunities to have, you know, just like you said, lighter shows or like more intimate shows.Adam Linstaedt  35:57  Usually, when we've done seated shows in the past, we've done it more like rows of chairs, without tables, more of like a theater style seating. So we'll bring in 100 chairs or something like that, for the ground floor, maybe some standing room behind it with a few tables, and then general admission behind that at the bar. So people are still able to be fluid. But when you do shows like that, especially when you're in a row of 10 people, and you're in the middle and you want to get up and go get a drink, you're gonna probably question yourself, whether you should do that and interrupt all these seven people that you got to walk past in front of and then come back and how many times you actually going to get up and down. But with doing it with the tables like this, so it's kind of more like a jazz club or a comedy club type approach? I think it works really well. You know, we started a series with NC State live in 2019, we did a handful, maybe three or four shows with them in partnership, and something Those were all seated shows with the sporadic seating and row seating that I was speaking of before, but I was talking to Sharon, who runs the program over there yesterday, actually, like you should really come check out what we're doing now. I think it's gonna lend itself perfectly for the NC State live shows. And she's like, yeah, that's gonna sounds great, we should totally come and check that out. And it just, you know, people are always more comfortable with things they're familiar with. And certain crowds are more familiar with certain types of approaches than others. And it's a way to reflect what the crowd wants. That's our job as a venue is to make it comfortable for people and make it as fun for those people that are there that night. And I think having those seated shows like that is going to continue to be a thing in the future, we might lay off it a little bit for a while and just party as hard as we can, and you know, throw all the ragers. But whenever that whenever that happens, whenever it's safe. It's looking like the later this year, late summer, maybe in the fall, we should be back to rocking and rolling.Lise Nox  37:45  Do you have unless you don't want to talk about it? Because it's a surprise, or, you know, do you have anything planned for when things are gonna go back to normal to kind of celebrate, you know, venue being able to reopen normally?Adam Linstaedt  37:56  No, not at this point. Because if I've learned anything over this last year is the more you put plans down into place and start moving on them, you're going to have to change them. So we know how to run shows like that we're ready for it. It's when it's going to be it might be a Tuesday randomly, it might be a Friday night, a couple of weeks after we get the announcement that we can do things like that as we ride out things that are already in place on the calendar, since we know typically booked further out than this weekend, you know, we've got things on the calendar all the way up to January right now of stuff that was rescheduled from last yearLise Nox  38:28  really seems like the pandemic has kind of taught us all how to be more spontaneous and flexible with our time with our energy our plans, just like you said, Every time you as of right now every time you're going to plan something for the future, you're always going to think in the back of your mind, maybe its is not going to happen. Or maybe everything's gonna change or like my entire world is going to fall apart in like two months from now. So adapt to be changes really quick. It's what we've all been doing for all of 2020Adam Linstaedt  38:53  Yeah, early on in the pandemic, I was talking to someone I don't remember who you know, you seem to really be on top of things and like getting things rescheduled and getting things on the calendar, blah, blah, blah. I was like, Yeah, but you know, at the same time, I'm really trying to look at this, like we're a startup business, when you're a startup business, you don't really you might have a date planned for when you're going to open but there's always going to be surprises that pop up, you have to have this extra permit or you have to have this extra inspection or the plumbing inspector is making you move your toilet over a quarter inch to fall into compliance. So being flexible, having a plan and being able to adapt it in real time is key for everyone right now to maintaining sanity really Lise Nox  39:30  I think the positive things we can remember from this pandemic is like how we've all been able to evolve into new people or you know, just like or new ways to run our businesses, I guess.Adam Linstaedt  39:39  Yeah, hopefully it sticks for a lot of people because typically people tend to forget things very quickly and move on and fall back into old habits. So hopefully it is been long enough that there is a greater good that comes out of this all this downtime we've all had. Lise Nox  39:52  I can say even though you guys had to set really strict rules for your show. I remember having a great time. So thank you so much for making this possible because I'm a really big fan of like music. So spending an entire year without going to a concert and also having started the year 2020 thinking, Okay, this year is the year where I will be going to one concert per month. That's the thing I wanted to do for my 2020 and then having to spend the entire year locked up in my room and be like, not going to happen. Definitely not gonna happen. I just remembered that. So I moved to Raleigh a few months ago. And I remember the first time I went to Pour House, I had no idea what it was in the first place. Like my friend told me, Hey, we should go to pourhouse. I was like, yeah, sure, whatever that is. And she took me to the record shop upstairs. And at the time, I had no idea that you guys were actually hosting live shows, usually, you know, pre pandemic. And she's the one who showed me the stage. And she was like, Oh, my partner usually plays there. And I was like, wow, there's a venue here. Like, that's awesome and at the time, I was like, well, we're, you know, with COVID. and stuff, I'm never going to be able to see a concert anyways, like, good thing to know. But I'm probably going to beAdam Linstaedt  40:58  Thanks for rubbing it in.Lise Nox  41:00  Like, I'm glad to know this information, but I'm not going to be able to do anything about it. And fast forward two months later, I'm seeing a live show of her partner playing the bass on stage. And I'm like, Oh, it was just really, really fun to notice the evolution because we're kind of seeing the light at the end of the tunnel right now know, people are getting more and more vaccinated.Adam Linstaedt  41:18  I think its starting April 6th, or 7th anyone over 16 in North Carolina can get it. You can get it next week. Lise Nox  41:26  Oh, wow. That's, that's coming really quickly. Yeah, cuz I'd like to get vaccinated. And I, for some reason, for obvious reasons, I couldn't. But yeah, it's good to know. So yeah, Adam Linstaedt  41:36  They've fast tracked a lot of things. And yeah, I believe it's the sixth or the seventh, anyone over the age of 16 is eligible. Okay, yeah, I got my second shot on Wednesday, and my wife just got her second shot this morning. That's great. So we're moving, we're moving towards it. And you know, once everyone that works for the venue, is vaccinated, and we're past that two week after, after getting your second shot time period, we are going to be a little bit more flexible with the masks, we're obviously still going to encourage people to keep them on the entire time they're inside the building, but we're gonna fight with them less about it. So if someone feels the need to sit down and take their mask off, and stay in their spot and follow all the other rules, keep their mask off while they're drinking, we're going to allow it at that point in time. But right now, if any of us get sick we had 17 employees when we closed down, and now we're we have 4, so if any of us get sick, we're gonna have to cancel shows for the next month, which is putting all these bands out of work, putting them out of work, we're just doing everything, we can definitely not make that happen. So we'll feel a little bit more comfortable with it once everyone's got their vaccinations fully in their systems. And, you know, hopefully everyone else follows suit and gets their shots as well. And we can get back to this sooner than later since I mean, it's the floodgates are opening next week,Lise Nox  42:53  it definitely matters more than anything that your team is safe first, because for people running the shows, like did you have to let go that many people because of like the debt?Adam Linstaedt  43:02  Well, I mean, that's how many people we need to run shows right now. Okay, so I've got my sound engineer, our door person, and two people working behind the bar plus myself managing so there's four people working than me managing and we're able to make it work with 54 people in the room, that's a fine number for us to deal with. So as things ramp up, we're going to start bringing back more folks, I have a separate person that's running a record shop during the daytime for those hours, technically five people back of the 17 that we had when we closed down initially,Lise Nox  43:34  okay, yeahAdam Linstaedt  43:34  But yeah I mean, we were we had the record shop opened 56 hours a week, we're doing shows seven nights a week with multiple bands, you know, often we would have four or five bartenders on any night, sometimes additional security on the floor, always a manager on duty. So just the need for more people right now isn't there and it wouldn't be fair to bring back more people and cut everyone's money down and then go, we should have stayed on unemployment, we would have been making more money that way, even though people want to get back to work. So it's been a balancing act for sure. We definitely have more folks that we're ready to bring back once restrictions get loosened a little bit. And we're able to bring more bodies in and justify the cost and having more people workingLise Nox  44:13  if you only have to deal with like 40 people like 44 people at the same time, it seems you know, reasonableAdam Linstaedt  44:18  Right, normally, in the before times, if we had a show where you know, 40 or 50 people showed up, that would be a one bartender night because they're not having to go out and run all over the place and cocktail and get their bills. 20,000 steps in in a couple hours. They're behind the bar, people are coming to them, which is a lot more easy to manage than it is with this other process. But yeah, that's where we're at right now. And I have full intentions of getting back to bigger and better places than we were before.Lise Nox  44:42  Hopefully by this summer 2021. That would be awesome. The rebirth of Pour House. Finally,Adam Linstaedt  44:47  yeah, it's coming.Lise Nox  44:49  Yes, it definitely is. I think I've covered pretty much everything I wanted to talk about. Is there anything else you want to add?Adam Linstaedt  44:56  Just let folks know that we're announcing new concerts every Tuesday at noon. So if you pay attention to our social media on Facebook or Instagram, or you get our newsletter that we send out, those are the main places that we're announcing those shows on the record shop side of things, we put out new and used releases every Friday at 10am. online at pourhouserecordshop.com they're obviously available in shop starting at noon, and just kind of keep an ear out for us. Because we're always adding more things, we're always announcing more events. And hopefully soon we're going to announce that things are changing for the better. And we're moving in the direction of not having to be so strict and we can loosen up because at the end of the day, people come and hang out with us to cut loose from life not to follow more rules their here to have fun were very much ready to get back to that. So in the meantime, we're just going to make this as fun as we possibly can and as enjoyable as we possibly can, with the hope of being able to shift back to how things were before and being more fluid of an experience.Lise Nox  45:56  Yeah, and I feel like this interview and the article I wrote, are going to be pretty good proof for people that their shows are safe. So if you want to have fun, if you want to forget about the pandemic for an hour, one night, you can you're not going to get sick with COVID, it's fine, you can go to a concert, like with a clear conscience,Adam Linstaedt  46:14  Right totally. And on that same on that same note we've got, because we're largely selling all of our tickets in advance. So we have contact information for at least one person in every single group that's coming to the venue. And we've asked in all of our terms, hey, if you or anyone in your group gets sick with COVID, within two weeks of being here, let us know. So we can let everyone that was at that show know. So they can, you know, squash it and you know, isolate and do the things that they're supposed to do to help slow the spread of this thing. The answer is to slowing it down are just so painfully obvious. And it's so hard to watch everything happen that are just flying in the face of it and flying in the face of logic. It's really frustrating. We could have been back to rocking and rolling a long time ago if everyone just you know, did what they were supposed to do and were responsible but that's not the world we live in unfortunately.Lise Nox  47:03  Definitely not thank you so much for taking the time to talk to me about this this the kind of information that I think a lot of people are going to be benefiting from people are going to know what it's like with you telling us about Pour house and everything had to go through and how you're running the shows right now. Like it's just really great information. So thank you so much for taking the time to talk about this with me.Adam Linstaedt  47:22  Yeah, absolutely. I appreciate you putting it at the forefront and letting folks know and if anyone has any questions or concerns or hesitations about coming out to a show or coming to the shop you know we're an open door people can email me my email is adam@The-Pour-House.com You can also reach out to Nick his emails the same but it's Nick you can reach out to Lacey the same but L A C I E, our phone numbers 919-821-1120. Call us we're happy to talk and ease your mind a little bit. And if we can't convince you that it's safe now we hope that you come back when you feel more comfortable.Lise Nox  47:59  Thank you so much for listening to this episode of Eye on the Triangle. This is Lise Knox for WKNC 88.1. My guest was Adam Linstaedt from Pour House Music Hall, and he did a really great job in explaining what it's really like to be hosting COVID safe shows in the middle of a pandemic. Thank you so much for listening once again and I guess I'll see you soon. Take careTranscribed by https://otter.ai

SEN SENRA – Tumbao en el Jardín Viendo Atardecer NOGA EREZ – End On The Road BABY QUEEN – Raw Thoughts CAMP TRASH - Bobby MADEE – Blanchard Avenue Blue FOO FIGHTERS – Waiting On a War ZAHARA – Merichane GLAS – Yo Quiero Estar Aquí SIA ft BURNA BOY – Hey Boy DEAP VALLY ft. JENNY LEE – Look Away TELEPÁTICOS – Cotton Jones MAXÏMO PARK – All Of Me JULIAN BAKER – Hardline CITIZEN – I Want To Kill You MUSH - Seven Trompets DEATH CAB FOR CUTIE - Waterfalls Escuchar audio

It's Women's History Month, and we're celebrating all the Black girls with spice and swag! (Las Negras Tiene Tumbao) This episode we're kicking things off highlighting Black women that have made history and made an impact on us personally. In R&R, we're giving all the latest CNN tea. NY Gov. Cuomo falls from grace, Texas and Mississippi are ready to bruk wild and open up 100%, and vaccine debates are ongoing. T.I.'s case is looking REAL shaky and we also do a deep dive on the trainwreck that is #MAFS worst couple of all time, Paige and Chris. Philanthropy Highlight: The Tory Burch Foundation - http://www.toryburchfoundation.org/ Bonus Community Highlight: Black Girl Holidays Calendar - https://www.blackgirlholidays.com/

Estrenó el vídeo el pasado jueves y nos dejó sin palabras. Seguimos así, la verdad, es muy difícil expresar lo que sentimos cuando escuchamos 'Merichane'. 'Merichane' es Zahara y son todas sus historias (y somos todas). Historias con un pasado doloroso que ella ha aceptado y asumido y ha tenido la valentía y el coraje de contarlo y cantarlo: hombres que la han agredido, problemas de bulimia, con las discográficas, ansiedad… Todo lo que es muy, muy duro de contar y que hace que seamos lo que somos. La propia Zahara confiesa que Merichane era su apodo en el colegio, que se lo pusieron cuando tenía 11 o 12 años: Merichane era el nombre de la prostituta del pueblo. Así que solo podemos añadir; ¡Ole tú, Zahara, ole tú! Aparte, estrenamos nueva canción de Telpáticos y escuchamos lo nuevo de Foo Fighters, Maximo Park, Siam Mikel Izal,Julian Baker, Sen Senra, Noga Erez... ZAHARA – Merichane GLAS – No Quiero Estar Aquí SIA ft BURNA BOY – Hey Boy TELEPÁTICOS – Cotton Jones FOO FIGHTERS – Waiting On a War MAXIMO PARK – All Of Me ENRIQUE BUNBURY – El Precio Que Hay Que Pagar MIKEL IZAL – Alta La Frente SLEAFORD MODS ft BILLY NOMATES – Mork 'n' Mindy SEN SENRA – Tumbao en el Jardín NOGA EREZ – End On The Road BABY QUEEN – Raw Thoughts JULIAN BAKER – Hardline CITIZEN – I Want To Kill You THE RONETTES - Be My Baby Escuchar audio

NOCHE DE SALSA CON RAFAELITO Y SU TUMBAO Y EL TROMPOETISTA GANADOR DE LOS EMMYS DANTE VARGAS --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/cocinando-con-mariline/support

In this week's episode of HTBM Nikki has a talk with writer Keka Araujo of Negra with Tumbao about Keka's journey as an Olorisha and priestess of Two Waters (Oshun and Yemaya). Follow Keka on social at @negra_with_tumbao on Instagram and Negra with Tumbao on Facebook. As always be sure to check the blog for show notes, resources, and links to learn more about this episode at https://blog.soulthingsbotanica.com/archives/869 --- Support this podcast: https://anchor.fm/howtobemagical/support

This content is for Members only. Come and join us by subscribing here In the meantime, here’s some more details about the show: It’s a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he’ll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 10th September 2020 Artist - Track - Album - Year Alan Braufman    Home    The Fire Still Burns    2020 Shawn Maxwell    Ravage Eject    Millstream    2020 Immanuel Wilkins    Ferguson: An American Tradition    Omega    2020 Teodross Avery    Boo Boo's Birthday    Harlem Stories: The Music of Thelonious Monk    2020 Nubya Garcia    The Message Continues    Source    2020 Ricardo Bacelar    Toda Menina Bahaiana    Ao Vivo No Rio    2020 Mafalda Minnozzi    Un Altro Addio (Mais um Adeus)    Sensorial: Portraits in Bossa and Jazz    2020 Kenny Washington    No More Blues (Chega de Saudade)    What's the Hurry    2020 Diego Figueiredo    Borbeleta Azul    Compilation    2020 The Flying Horse Big Band    Watermelon Man    Florida Rays: Featuring Songs of Ray Charles and More!    2020 South Florida Jazz Orchestra    Premonition    Cheap Thrills: The Music of Rick Margitza    2020 The Radam Schwartz Organ Big Band    A Path to Understanding    Message from Groove and GW    2020 Harold López-Nussa    Timbeando (to Chick Corea)    Te Lo Dije    2020 Orchesta Failde    Tumbao    Failde con Tumbao    2020 Harold López-Nussa    Jocosa Guajiro    Te Lo Dije    2020 Eva Cortés    Desterrado    Todas las Voces    2020 Harold López-Nussa    Habana sin Sábanas    Te Lo Dije    2020 John Santos    Descargarará    Art of the Descarga    2020 Jason Foureman and Stephen Anderson    The One Step    Duo    2020 Alan Braufman    No Floor No Ceiling    The Fire Still Burns    2020 The post The Creative Source (#CreativeSource) – 10th September 2020 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

We continue our conversion with Lauren Wilmore (Ballroom, NYC) and Kimberly Nicole (Kizomba, NC) regarding how race & racism intersects with professional Afro-Latin and African dance, dance classes, dance team management, and dance businesses.

El músico guantanamero Ernesto Oliva presenta su álbum 'Mi Aldea'.

El músico guantanamero Ernesto Oliva presenta su álbum 'Mi Aldea'.

Más vale palo parao que palo Tumbao es una radionovela con todo el sabor y la magia del Pacífico colombiano. En sus tres capítulos, sus personajes lo acercarán a conocer qué es REDD+ y qué representa el proyecto para las comunidades, aclarando rumores o mitos que se han venido posicionando de manera errada, a partir de una situación divertida que envuelve a los personajes en eventos inesperados. ¿Quiere saber cómo termina esta historia? Aliste su buen viche y no se la pierda. Un lenguaje local que los cautivará. --- Send in a voice message: https://anchor.fm/perifoneando/message

"Más vale palo parao que palo tumbao" es una radionovela con todo el sabor y la magia del Pacífico colombiano. En sus tres capítulos, sus personajes lo acercarán a conocer qué es REDD+ y qué representa el proyecto para las comunidades, aclarando rumores o mitos que se han venido posicionando de manera errada, a partir de una situación divertida que envuelve a los personajes en eventos inesperados. ¿Quiere saber cómo termina esta historia? Aliste su buen viche y no se la pierda. Un lenguaje local que los cautivará. --- Send in a voice message: https://anchor.fm/perifoneando/message

"Más vale palo parao que palo tumbao" es una radionovela con todo el sabor y la magia del Pacífico colombiano. En sus tres capítulos, sus personajes lo acercarán a conocer qué es REDD+ y qué representa el proyecto para las comunidades, aclarando rumores o mitos que se han venido posicionando de manera errada, a partir de una situación divertida que envuelve a los personajes en eventos inesperados. ¿Quiere saber cómo termina esta historia? Aliste su buen viche y no se la pierda. Un lenguaje local que los cautivará. --- Send in a voice message: https://anchor.fm/perifoneando/message

We talk with Lauren Wilmore (Ballroom, NYC) and Kimberly Nicole (Kizomba, NC) about how race & racism intersects with professional Afro-Latin and African dance, dance classes, dance team management, and dance businesses.

Néstor del Prado presenta su disco 'Clásicos al Jazz'.

This week, Petey brings back the biggest icon in Cuban music history in the legendary Celia Cruz. The crew discusses her 2001 release “La Negra Tiene Tumbao”. What did the guys think of this offering from the undisputed queen of Salsa? Hit play and find out!Follow along with us on Spotify.Audio Intro: Jahzzar - I Saw You On TVVideo Intro: Lame Drivers - Frozen EggOutro: Matthew Walton - I'll See You In My Dreams

Con Carlos López I Haciendo alusión al título, están claras nuestras intenciones. Adiós a esta segunda temporada, ¡nos vamos de vacaciones!. Pero antes, os dejamos una selección con mucho arte y sabor, con sonidos de jazz latino que invitan precisamente a no quedarte “tumbao”. Nosotros ya hemos preparado la camisa de flores, bermudas y unas buenas chanclas para gozar con un menú especial que cuenta con diferentes platos musicales, aderezados con una buena salsa, por supuesto. Para nada nos ponemos tristes, ya lo veréis, porque esto es solamente un hasta luego. ¡Feliz Verano!

Con Carlos López I Haciendo alusión al título, están claras nuestras intenciones. Adiós a esta segunda temporada, ¡nos vamos de vacaciones!. Pero antes, os dejamos una selección con mucho arte y sabor, con sonidos de jazz latino que invitan precisamente a no quedarte “tumbao”. Nosotros ya hemos preparado la camisa de flores, bermudas y unas buenas chanclas para gozar con un menú especial que cuenta con diferentes platos musicales, aderezados con una buena salsa, por supuesto. Para nada nos ponemos tristes, ya lo veréis, porque esto es solamente un hasta luego. ¡Feliz Verano!

Con Carlos López I Haciendo alusión al título, están claras nuestras intenciones. Adiós a esta segunda temporada, ¡nos vamos de vacaciones!. Pero antes, os dejamos una selección con mucho arte y sabor, con sonidos de jazz latino que invitan precisamente a no quedarte “tumbao”. Nosotros ya hemos preparado la camisa de flores, bermudas y unas buenas chanclas para gozar con un menú especial que cuenta con diferentes platos musicales, aderezados con una buena salsa, por supuesto. Para nada nos ponemos tristes, ya lo veréis, porque esto es solamente un hasta luego. ¡Feliz Verano!

Il Buongiorno oggi é dedicato a tutti gli Amici di Brindisi della Beautiful Dance Latino 2.0 dei Maestri Ciccio Laveneziana, Maria Ribezzi, Danilo Blasi e delle Super Fantastiche Paola Signore e Sara Marazza ☀️

Aklea Neon, Damir Kedžo, pocket palma and Nellcote are just a few amongst those Croatian musicians who took a stand for equality and expressed their support for the George Floyd protests in the USA. The music industry stopped all activities for the day on last Tuesday in order to support Blackout Tuesday. Discographers and all involved in the industry expressed their solidarity with the victims of hate crimes and discrimination. Discographers sent out their message: “Our responsibility is to, as guardians of culture, not only to unit in celebration of our wins, but support each other in times of loss as well.” This week Incubator has the freshest news from the music scene. We`ll check out the best hits from HR Top 40 list and introduce you to Tumbao, an album by Cubismo and Jazz orchestra of HRT. We`ll listen to songs of our favourites; Franka, Rundek &Ekipa, ToMa and Kawasaki 3p. List of tracks: Psihomodo pop – Banana (Dallas Records), Franka Batelić – Ljubav, ništa više (Karpo Media, Croatia Records), Pocket palma - Kako izgleda kraj (Cubies Remix) (Aquarius Records), Cubismo, Jazz orkestar HRT - Ljubav, samo ljubav (Aquarius Records, HRT), Rundek & Ekipa - Tko su svi ti ljudi (Menart), Saša Lozar – Dama (Agapa Music), ToMa - Vrijeme je (Dallas Records), Marko Kutlić – Kreni (Hit Records), Kuba & Bocvana - Sičijava situacija (Croatia Records), Pravila igre - Usne od šećera (Gema Produkcija), Jasmin Stavros - Moja Marina (Menart), Trio Gušt - St-Zg (Dancing Bear), Kawasaki 3P - Puta madre (Live &TD) (Dancing Bear)

La Orquesta Aragón, el Conjunto de Ernesto Grenet y el Conjunto Colonial.

Buongiorno Dedicato alla Mia Amica Slasher Elena Aloise, grandissima professionista dell'arte della comunicazione, a Ivana Miraglia e Enrique L. Perez Rull che ci seguono sul profilo Instagram di Radio Mariposa e a Alessia Rea e Daniele Indios Gli Organizzatori del Festival della Cultura Cubana!!!

Diego Avilez of Tumbao and Sons of Paradise joins us on this episode to discuss the local music scene, Latin roots, and an unlikely scenario. Search @DiegoAvilezMusic on Facebook, or check out his website oakcitymusic.com for more information on Diego and his projects.

Dedichiamo Questo Disco alla Pizzeria Zio Giacomo di Martina Franca!!!

Nos sentamos hablar con MICHAEL Y SU TUMBAO, nos cantaron en vivo y hablaron de su nuevo tema "Michael Llegó".

Un debate de récord mundial. Analizamos la obra del keniata Eliud Kipchoge. ¿Una puesta en escena científica perfecta?Will Vargas, coach de triatletas y corredores, explica en intensas series el espectáculo visto en Viena. María Paula Neira, vocera de Nike, nos habla desde el palco de los zapatos más rápidos del mundo. ¿Listos? ¡A correr!

Un debate de récord mundial. Analizamos la obra del keniata Eliud Kipchoge. ¿Una puesta en escena científica perfecta?Will Vargas, coach de triatletas y corredores, explica en intensas series el espectáculo visto en Viena. María Paula Neira, vocera de Nike, nos habla desde el palco de los zapatos más rápidos del mundo. ¿Listos? ¡A correr!"En La Jugada" De RCN radio es el único show deportivo de la radio colombiana. Todos los días de lunes a viernes de 2 a 4 de la tarde.

Un debate de récord mundial. Analizamos la obra del keniata Eliud Kipchoge. ¿Una puesta en escena científica perfecta?Will Vargas, coach de triatletas y corredores, explica en intensas series el espectáculo visto en Viena. María Paula Neira, vocera de Nike, nos habla desde el palco de los zapatos más rápidos del mundo. ¿Listos? ¡A correr!"En La Jugada" De RCN radio es el único show deportivo de la radio colombiana. Todos los días de lunes a viernes de 2 a 4 de la tarde.

Buongiorno Dedicato a Giacomo Nicolella: "La Morale é Sempre Quella, Fai Merenda con Nicolella!!! "

Tornano a Radio Mariposa i Mayimbe con "Mi Tumbao", Novità 2019 per la Vostra Più Bella Giornata di Sempre!!!

En el que hablamos sobre Ugao, la asimetría en los debates, Iglesias Ministro, las subidas salariales de Nacho Alejo y el derecho de afiliación de las mascotas.    Con @gsanmiguelr @LauraDiazRod @andreamarmol_ @jpereira001 @JGToni @_VRodrigo @rickybarquero

Como es tradicional en cada nuevo año, nos acompaña Jorge Amaya para mostrarnos un panorama de algunos de los trabajos más destacados que se publicaron en la escena salsera mundial. Escucharemos durante 8 emisiones, trabajos realizados en Cuba, Puerto Rico, Nueva York. Colombia y todos los rincones del planeta en donde se grabó salsa durante 2018.1. Mi Changomanía- Mayito y Changuito2. Solito - La Real Orquesta3. Pregones Dorados - Cuban Golden Club4. Yo vengo de Cuba - Los Hermanos Salazar y La Charanga Cubanísima5. Candela me llamo yo - Septeto Nacional Ignacio Piñeiro6. A mi que - Septeto Santiaguero7. Cuidado con el tumbador - Akokán8. Tumbao de Van Van - Bamboleo9. Mis Raíces - Robi10. Salsa para Todos - Rubén Paz y Chevere Fusión

The Bay Area’s Teao Sense brings some major heat for episode 014, Baile Prescription. Founding member of the multifaceted Audiopharmacy project, Teao presents a future Baile Funk/Trap mix layered with live instrumentation, scratching, and original AP productions throughout. Teao creatively blends bass-heavy tracks with a host of guest features, including Desirae Harp, Ras K’dee, The Cardinal Project, Brass Medik, Marcos Odara, and Malka Lew. Audio healing at its finest. Tracklist: Ibeyi - Barasu-Ayo (Teao Sense Remix) Vhoor - Culture (Samba De Coco Remix) / (scratches of Peter Tosh) Hiram - Las Naranjas Bailey Bear X Austin Lebron - Baile con Tumbao / (scratches of The Cardinal Project on flute) DKVPZ - Dia de Role w/MC Denny Hiram & Radical One - Mas Bum Big Shaq - Man’s Not Hot (Baile flip) Audiopharmacy - Treatment (Teao Sense, Desirae Harp, Azeem Ward, Brass Medik, Marcos Odara) Krs. - In The Sun Version Team Baile - IT G LIT Teao Sense - Offering Peace (ft. Marcos Odara) Teao Sense - True Colors (ft. Malka Lew and Audiopharmacy) Link DJ Teao Sense here: www.audiopharmacy.com www.facebook.com/teaosense www.soundcloud.com/teaosense www.soundcloud.com/audiopharmacy www.instagram.com/teaosense www.instagram.com/audiopharmacy www.youtube.com/audiopharmacy www.twitter.com/audiopharmacy ⚡️⚡️⚡️ 30m: High quality DJ mixes, always thirty minutes long. Subscribe to hear hand-crafted, exclusive mixes from internationally renown DJs. All styles. Curated by DJ Stepwise. Join the movement, tag us: #30mDJmixes

Tumbao feat. Oba Frank Lords - Elegua Laguana (Extended Mix) [Stealth Records] Dennis Ferrer - Hey Hey (Mousse T.'s House Masters Re-Rub) [Defected] Roog feat. The Rise - Love The Way (Original Mix) [Let There Be House Records] Bini & Martini - Say Yes (Pink Fluid Re-Touch) Dutchican Soul - Feeling Hot! (Original Mix) [Salted Music] David Penn - Nobody (Club Mix) [Defected] CASSIMM - Sunday (Original Mix) [Mother Recordings] Anthony Acid feat. Eamon - Running From The Sun (Remix Instrumental) [Nervous Records] Qubiko, K-909 - Again (Extended Mix) [Armada Subjekt] 84Bit - Dreams (Full Intention Remix) [Blockhead Recordings] Monki - ENG98 (Extended Mix) [DFTD] Danny Tenaglia feat. Cevin Fisher - The Better Days (Jerome Robins 'Re-Den' Edit) Inner City & Latroit - You Give Me That Feeling (Inner City Club Mix) [AKA Music]

Congas, bongos, timbales y tumbas. Dedicamos este podcast a los bárbaros del ritmo, percusionistas y otros instrumentistas que enriquecieron el Jazz con los ritmos afro-cubanos y caribeños. Nuestros invitados: Poncho Sanchez & Terence Blanchard, Chano Pozo Medley; Tito Puente, Ran-Kan-Kan. Candido Camero, Mambo Inn; Tito Puente, Son de la loma; Art Blakey, No hay problema; Mongo Santamaría, Watermelon Man; Tito Puente, Oye cómo va; Mongo Santamaría, Sweet 'tater pie; Dave Pike, Sandunga; Cal Tjader & Eddie Palmieri, Bamboléate; Mario Bauzá, Yo soy el son cubano; The Hi-Fly Orchestra, Mambo Atómico; Luisito Quintero, Tumbao; Cuarteto D'Aida, Oye mi ritmo.

1. Karol G- Mi Cama 2. Major Lazer – En La Cara 3. D Maduro & Johnny Roxx – Whine N Go Down 4. Tropkillas – Aceita 5. El Chombo – Dame Tu Cosita 6. Adri El Pipo – Ta Bucoviba 7. Cardi B – Cardi 8. J Balvin & Anitta – Machika 9. La Montra – Que Perra 10. DJ Kass – Schooby Doo Pa Pa 11. DJ Snake – Magenta 12. Lauv – A Different Way 13. Hardwell & Steve Aoki – Anthem 14. Tropkillas – Vai Malandra 15. Tropkillas – Toca Na Pista 16. Steve Aoki & Quintino – Mayhem 17. Pitbull – Roof on Fire 18. Steve Aoki, Daddy Yankee, Play N Skillz & Elvis Crespo – Azukita 19. Steven Vegas & Calv – Burn It Up 20. Becky G Ft. Natti Nattasha – Sin Pijama 21. Maluma Ft. Prince Royce – Hangover 22. Ozuna – Unica 23. Zion y Lennox – La Player 24. Nio Garcia X Ozuna X Nicky Jam – Te Bote 25. Chris Jeday Ft. Ozuna & Nicky Jam – Bipolar 26. Bad Bunny Ft. Prince Royce & J Balvin – Sensualidad 27. Bad Bunny – Amorfoda 28. Cardi B X DJ Snake – I Like It ((Trap Flip)) 29. T Pain – Booty ((Trap Flip))

DJ Kidd B is back with Latino Music Lab EP. 7 Ft. DJ Tumbao from ProLatinRemixes.Com . This high energy mix contains new music from Karol G, Ozuna. Maluma, Steve Aoki & More. Press Play and Enjoy!

Un programa lleno musica y Medicina natural alternativa! Presentado por Jimmy Mora.

Un programa lleno musica y Medicina natural alternativa! Presentado por Jimmy Mora.

DE SANDWICH ZONDAG 29 januari Uur 1 1. For all we know ? Nat King Cole 2. Zo gaat het met meisjes altijd ? Corry Brokken 3. Solidao (Cancao do mar) ? Misia 4. Days like this ? Van Morrison 5. Come and stay with me ? Marianne Faithfull 6. Fairground ? Wereldband 7. De oude school ? Don Quishocking 8. Easy target ? John Mellencamp 9. Un homme et une femme ? Pierre Barouh & Nicole Croisille 10. La poupee qui fait non ? Michel Polnareff 11. Stad en land ? The Kik 12. Beautiful that way ? Noa 13. How long ? Ace 14. Reserva pra dois ? Mayra Andrade & Branko 15. Chocolate man ? Eric Bibb & Guy Davis 16. All aboard ? Ocobar & Geert Chatrou Uur 2 1. My love ? Paul McCartney & Wings 2. Gone fishin? ? Bing Crosby & Louis Armstrong 3. Vodden ? André van Duin & Claudia de Breij 4. Di goldene pave ? Klezmatics & Chava Alberstein 5. I knew I?d want you ? The Byrds 6. Every soul?s a sailor ? Stephen Fearing 7. In your eyes ? Peter Gabriel 8. Tumbao de la unidad ? Roberto Fonseca & Eliades Ochoa 9. Jumpin? jive ? Cab Calloway 10. Stormy weather ? Dinah Washington 11. Op een dag als deze ? Joris Linssen & Caramba 12. In the winter ? Janis Ian 13. Graceland ? Paul Simon 14. Joli garcon ? Pink Martini 15. Hicky burrr ? Quincy Jones

Uur 1 1. If I had a penny ? Rosemary Clooney 2. Lonely people ? America 3. Dead and gone ? Gregory Page 4. Come wander with me ? Bonnie Beecher 5. M?n dorp in de Kempen ? Louis Neefs 6. Tumbao de la unidad ? Roberto Fonseca 7. The thorn upon the rose ? Mary Black 8. Isabel ? Sjors van der Panne 9. Vesoul ? Jacques Brel 10. Les moulins de mon coeur ? Michel Legrand 11. Beyond the blue horizon ? Michael Nesmith 12. Broad daylight ? Gabriel Rios 13. Y gwyfyn ? the Gentle Good Uur 2 1. Hello like before ? Bill Withers 2. Je t?aimerai ? Rina Ketty 3. Pjevat cemo sta nam stce zsa ? Amira 4. Sammy ? Ramses Shaffy 5. Tommy ? Racoon 6. Every soul?s a sailor ? Stephen Fearing 7. Hotel California ? The Eagles 8. Verse vissies ? Zijlstra 9. For me and my gal ? Judy Garland & Gene Kelly 10. After you?ve gone ? Jamie Cullum 11. Igarape ? Raphael Gimenes & As Montanhas de Som 12. De papegaai van tante Sjaan ? Cornelis Vreeswijk 13. The three R?s ? Jack Johnson 14. Hitch hike ? Marvin Gaye

The Do Dat Den family explore Afro and South American styles, spinning baile funk, kuduro, cumbia and everything in between to ears over London way. Chilean-blooded Nick BSc Hons is 1/4 of the crew and has regaled Groovement with this mix of killer modern Latin styles, recorded live at The Docks Studios. If you're down south, their next party is Hallowe'en weekend over in Whitechapel with guests Bass Clef and Hagan. Tix for Sat 29 Oct: https://www.residentadvisor.net/event.aspx?883823 FB: https://www.facebook.com/dodatden/ Nick's Mixcloud: https://www.mixcloud.com/nick-vergara/   Havana Club Rumba Sessions - Yambu (Daisuke Tanabe and Yosi Horikawa Remix) IFÉ - House of Love (Ogbe Yekun) Mala - Como Como Maga Bo - No Balanço da Canoa (Chancha Via Circuito Remix) SidiRum - Akasha DotoradO'PrO' - Me Dá Só Do Quadradinho [Tarraxo] ♥ Julito Balacera meets Andrés Digital - Rakataka (Tribilin Sound Remix) DINAMARCA_X_BUSY_SIGNAL_-JAIL_GIL_EDIT Dengue Dengue Dengue - Badman Interlude chancha via circuito - camino de posguerra ft. sara hebe Mr Pauer - Pronto Vamo'a Llega (Bosq Remix) [feat. Tumbao] Mina - Pineapples & Qumquats Blaze Kidd - Elemento Grupo Socavon - Homenaje a Justino (Uproot Andy Remix) Novalima - Madretierra ÌFÉ - 3 Mujeres (Iború Iboya Ibosheshé)

    Thank you for tuning in to Episode 98 of the Down Cellar Studio Podcast. This week's segments included:   Off the Needles On the Needles Brainstorming From the Armchair Life in Focus KAL News Events On a Happy Note Quote of the Week   Thank you to this episode's sponsors: Daizie Knits, Plum Deluxe Tea & Media Peruana Designs   Off the Needles Amma Granny Square Top Pattern: Amma Granny Square Top by Maria Valles Hook: C 2.75 mm Yarn: Aunt Lydia’s Crochet Thread Classic 10 in a creamy vanilla color Regia Shortie Sock OMG Heel Sock Pattern US 1.5 Needles Yarn: Regia 4 Ply   A Blue Dress for Giraffe Mommy  No Pattern J Hook Lion's Brand Nature's Choice Organic Cotton (Aran weight)   On the Needles   Christmas Socks OMG Heel Sock Pattern US 1.5 Needles Yarn: Lilliput Yarns- Bumpus Hounds Colorway Love it! lime green and hunter green striped with red! super fun 2nd christmas pair i'm working on. past heel on first sock!   2016 Patriots Socks Pattern: OMG Heel Socks by Megan Williams Needles: US 1 (2.25 mm) Yarn: Knitters Brewing Company Sockaholic II in NE Patriots Tailgate Party Colorway Cast on 64 with US 1 needles- bamboo. Too big Cast on 56 with US 1- metal Thought it was too small at first. Think it may be fine. Neon Halloweeny Socks OMG Heel Sock Pattern US 1.5 Needles Yarn: Be Ewe Fibers (Etsy shop) 2 mini skeins in Harley Quinn Colorway & leftover Knit Picks Kaleidescope colorway   Started a new design project which I'll share more details on soon   Brainstorming   Rugged Ripples Blanket   Tutorial available by Very Pink       Debating the Worsted Boxy by Joji Locatelli or Sunshine Coast by Heidi Kirrmaire.   I am watching with Mae C. Jemison Worsted Merino Bamboo from Yarn Geek Fibers- lovely light gray.     From the Armchair   Della Q Hanging Circular Needle Organizer- retails for $44 US     Point/Counterpoint Volume 1 by  Mary Hull and Sarah Schira     Two new audio podcast I've been enjoying Imagined Landscapes Podcast- with Sarah & Katie Maine Yarn Podcast- Jenn and Julie Life in Focus In this episode I shared about my motivation to lose weight and some reasons why I think the Weight Watchers program has worked well for me.sed to be photography. focusing on what's important in life. If you have questions, feel free to post in the Ask Me Anything Thread. KAL News   The Big, Bad, Berg-a-long October 1st-November 15, 2016. Knit any pattern by Melanie Berg (No WIPs allowed) 7 Podcasts Participating- each will offer prizes, you are welcome to enter in each group’s thread. Knitting Butterflies, Actually Knitting, Prairie Girls Knit & Spin, In a Sknit & Commuter Knitter Podcast, Knitmore Girls We are so lucky to have the designer Melanie Berg offering our listeners a 10% discount on her patterns (self-published) starting September 15th, 2016 and ending November 2, 2016. Use the code BigBadBergAlong at checkout on Ravelry. We are also going to be working with 3 Indie Dyers for this KAL. Sun Valley Fibers: There will be Free Shipping in the US for kits and special pricing on the kits that they are making up just for this KAL. Use the code BigBadBergAlong at checkout. Lollipop Yarns:  Use the code BigBadBergAlong for free shipping until 10/1. Check out her Ravelry group where she is doing a kit giveaway. One Twisted Tree: Danie will be offering a couple of different fall themed kits for the KAL. I am planning to do the Sunwalker Shawl. with MCS from Sun Valley Fibers in Kensington Colorway. Participating in the Pigskin Party? You can double dip and this will earn you Interception points   Pigskin Party ’16 Wondering what this crazy KAL is? Check out this page which gives you the best overview with all necessary links. Check out the Rules but if you still have questions, come over to the Questions thread and ask. We’re happy to help. Put your Name on the Roster then claim your spot in the End Zone Dance Thread Continue to update this with all of the points you earn during the KAL Check out our amazing sponsors. Find the coupons here. Some of our Pro Shop Level Sponsors will be creating exclusive items for Pigskin Party participants. They may come out at different times and will likely be limited in quantities, so keep your eyes on this Exclusive Items thread in the group for all the latest news Scope out the prizes! Don’t forget to use #DCSPigskinParty2016 on Instagram so we check out what you’re doing and you can be eligible for participation prizes. Want to make sure you know the latest news about the Interceptions, swaps and other fun challenges throughout the Pigskin Party? Stay tuned to the Sidelines Games thread in the Ravelry Group. Pro Shop Sponsors Berry Colorful Yarnings Bijou Basin Ranch Daizie Knits Fair Winds Farm Fiber Nymph Dye Works Knit Life Designs Knitcircus Yarns Knits4Comfort Knitters Brewing Company Knitty Kitty Bags Lilliput Yarn Media Peruana Designs One Geek To Craft Them All Pearl and Plum Plum Deluxe Tea Prairie Bag Works Sun Valley Fibers Sunsoaked Yarns The Yarn Sellar Yarn Geek Fibers Key Details Mentioned in this Episode   Check out Sideline Games Thread Virtual Knit NIGHT and FOOTBALL Join Lisa on Google Hangout on Thursday Night September 29. We will meet online at 8:00pm eastern time. We can all chat and watch the Dolpphins vs Bengels. The best thing about the video chat is you don’t need to type. Link will be posted in the Sideline Games Thread on September 29. All you need to do is copy the link and put it in your browser. The Google Hangouts only accommodate 10 people so you may need to wait to get in. We had our first Bingo Game on Monday 9/19- winner EmilyK3661 who chose the Tumbao pattern from Media Peruana Designs Upcoming Bingo Dates-  Monday Night October 10th & Thursday Night October 27th Events Indie Untangled Trunk Show October 14, 2016 from 5p-8p at the  The Best Western Plus, 503 Washington Ave., Kingston, N.Y. New York Sheep and Wool Oct 15-16, 2015 at the Dutchess County Fairgrounds, Rhinebeck, NY On a Happy Note Custom Orthotic- seems to be working well for my heel. I won photo contest at work! Will and Aila sleepover We went to look at well, explored the woods. I fixed Will's rhino's cheek and leg Aila worked on her loom for about 6 min. Dan and I spent first half of Pats game untangling her yarn. MyaStone - Taryn was in MA for a conference and came to my local knitting group last week! It was great meeting her.   Quote of the Week “The only guarantee, ever, is that things will go wrong. The only thing we can use to mitigate this is anticipation. Because the only variable we control completely is ourselves.”  -Ryan Holiday   -----------------------------   Thank you for tuning in!   Contact Information: Ravelry: BostonJen & Down Cellar Studio Podcast Ravelry Group Twitter: Instagram & Periscope: BostonJen1 Facebook: www.facebook.com/downcellarstudio Sign up for my email newsletter to get the latest on everything happening in the Down Cellar Studio!

Este próximo día 26 se cumple un nuevo aniversario del nacimiento de Rubén González, el pianista de Buena Vista Social Club.PLAYLIST:1. Conjunto Campesino Cuyaguateje - La cola de tu caimán.2. Sonora Ananqué - Fiesta guajira.3. Carmelina Barberis - En la inmensa soledad.4. Carmelina Barberis - Cariño santo.5. Rubén González - Indestructible.6. Rubén González - Tumbao. 7. Orquesta América - Clases de cha cha cha.8. Orquesta Jorrín - Unión Cienfueguera.9. Orquesta Jorrín - Milagros del cha cha cha.10. Orquesta Jorrín - Yo sé lo que tiene María.11. Luis García - Qué te pedí.12. Luis García - Puede que sí, puede que no.13. Pacho Alonso - Mi manera de ser. 14. Carlos Embale - Lo añoro.

In this episode of Music For Life, Music From DePauw...Soprano Ann Chase with composer Roberto Sierrawith our next Living Composers Festival right around the corner, Steven Linville and Elleka Okerstrom come in to tell us about Jason Robert Brown's upcoming visit, and Hannah talks with a pair of students who have prepared some of his music to perform for him in masterclass...Anna talks with Brooke Addison about another DePauw student-conceived outreach program in our community...our Jazz Ensemble and Band directors come in to tell us about concerts they’ve prepared for this week...and, just having finished this year’s Music of the 21st Century festival, we talk with guest composer Roberto Sierra about his work and his visit to DePauw!! SOURCES From our just-concluded Music of the 21st Century Festival featuring guest composer Roberto Sierra, the DePauw Chamber Singers, under the direction of Kristina Boerger, perform Sierra's "Cantos Populares." The DePauw University Band, under the direction of Craig Paré, performs the first movement of Sierra's Sinfonia no. 3, "La Salsa," entitled "Tumbao." Concluding our episode, the DePauw University Orchestra, under the direction of Orcenith Smith, perform Sierra's "Carnaval."

El Rock Gallego de Os ResentidosHoy viajaremos hasta el norte peninsular de España, llegaremos hasta Galicia, una de las 17 Comunidades Autónomas para recordar a Os Resentidos, uno de los grupos de Rock Gallego más importantes de los años ochenta y comienzos de los noventa. Canción 1: Música felizCanción 2: Están aquíGalicia, para los despistados que sólo imaginan a España como una sola cosa, se ubica al noroeste de la Península Ibérica, encimita de Portugal y su música tradicional está nutrida de muchos elementos, como la música celta y con influencia incluso de la música árabe. Nuestra banda invitada Os Resentidos, supo aprovechar estos elementos y combinarlos con muchos del rock y espléndidas letras, convirtiéndose así en músicos camaleónicos que lograron mimetizarse entre diferentes ritmos populares. Canción 3: Galicia sitio distintoCanción 4: Panderirada mixtaCanción 5: TumbaoGalicia sitio distinto es una gran canción que se funde entre gaitas celtas y hip hop sobre una caja de ritmos. Luego Panderirada mixta, en la que las gaitas vuelven a aparecer acompañando un ritmo tradicional arraigado en la música árabe y por último teníamos Tumbao un típico rocksteady. Os Resentidos aparecieron en escena en 1982 de la mano de Antón Reixa, un artista absolutamente prolífico, en compañía de Alberto Torrado y Javier Soto, Antón escribía las letras y cantaba y sus amigos ponían la música y tocaban.Canción 6: Por ali por ala (Canción protesta)Canción 7: Manda caralloEn las anteriores dos canciones los sintetizadores resaltan y acompañan dos letras irónicas. Las letras de Os Resentidos estaban a cargo de Antón Reixa, estudiante de filología clásica aficionado a la poesía. En sus años en la Universidad de de Santiago funda el grupo literario y de comunicación Rompente, en compañía de dos amigos. Con este grupo literario consiguen publicar tres libros de poesía “A Dama que Fala", "Silabario da Turbina" y “As Ladillas do Travesti", luego Antón opta por el punk y el funk en Os Resentidos.Canción 8: Estamos en guerra (Himno da republica de sitio distinto)Canción 9: Galicia expresEstamos en guerra (Himno da republica de sitio distinto) y Galicia Expres, son dos de las muchas canciones que Os Resentidos le dedicaron a su nación gallega, a Galicia. La primera grabación de Os Resentidos consistió en un EP en compañía de Siniestro Total, un grupo de punk rock, de la ciudad de Vigo, la ciudad natal del Rock Gallego. El EP se tituló Surfin’ CCCP y escucharemos la canción Cuando Breznev taba palmado, una de las canciones de Os Resentidos que aparece en ese disco. Canción 10: Cuando Breznev taba palmadoCanción 11: A-esfinterCanción 12: Sector navalLocución 5: Teníamos anteriormente las canciones A-esfinter y Sector Naval. El primer álbum de Os Resentidos apareció en 1985 bajo el título Vigo, Capital Lisboa, un nombre bastante polémico ya que ponía a Vigo, la ciudad de Os Resentidos como capital de Portugal y España, reflejando algunos deseos separatistas. La actitud y las letras de Os Resentidos los llevarían a ser catalogados junto a Siniestro Total como bandas de Rock Subversivo. Escuchemos dos canciones irónicas con contenido político y nacionalista gallego, primero un funk titulado Economía sumergida y luego Jei (Estado de sitio distinto). Canción 13: Economía sumerxidaCanción 14: Jei (Estado de sitio distinto)Canción 15: Cumbia chinaCierre: Escuchábamos una particular canción de Os Resentidos que demuestra el profundo interés de Antón Reixa por los diferentes ritmos populares. Ya hemos escuchado reggae, música celta y música árabe ligadas al hiphop, al punk, al funk y al tecnno. Teníamos entonces Cumbia china, toda una cumbia colombiana. Entre 1985 y 1997 Os Resentidos editaron siete discos hasta que Antón Reixa decidió tomar rumbo aparte para dedicarse a una nuevos proyectos musicales como Nación Reixa en compañía de Kaki Arkarazo, ex-miembro de la banda de Rock Vasco Negu Gorriak y para también dedicarse al mundo audiovisual. Nos despedimos con la canción de Os Resentidos que puso a bailar a toda España, Galicia Caníbal (fai un sol de carallo).Canción 16: Galicia caníbal (fai un sol de carallo)

Enjoy this set, Mi Tumbao, de Salsa! 1. Cierra los Ojos - Jose "El Canario" Alberto 2. De La Noche A La Manana - Willie Cortes 3. Mi Tumbao - Carlos Cascante 4. Mi Mujer es una Bomba - Oscar D'Leon 5. Too Hot - Charlie Valentin 6. En Nombre de los Dos - Victor Manuelle 7. Te Quiero Asi - Tito Gomez 8. Lo Dudo - Tommy Olivencia 9. La Negra No Quiere - Grandes de La Salsa/Luisito Carrion 10. Sola te Dejare - Grupo Mandinga 11. Feo Pero Sabroso - Louie Ramirez Y Super Banda 12. Cómo Sería - Ray de la Paz 13. Como Una Pelicula - Carlos Alberto 14. Un Desconocido - Chino Nunez 15. Bla, Bla, Bla - Anthony Cruz 16. Prefiero Decirte Adios - Orquesta Yarey 17. Hablando Sola - Trina Medina 18. So Much in Love - David Cedeno 19. Buen Corazon - Cano Estremera 20. Negro - New York Sextet 21. El Negro Bembon - Dorance Lorza & Sexteto Café 22. Tapando El Hueco - Grandes de La Salsa/Grupo Gale 23. Como Me Duele la Piel - Johnny Vazquez 24. Culpable o No - Raulin Rosendo 25. El Titere - Grupo Mandinga 26. Tu Eres La Que Manda - Cesar Chino Perez 27. La Rumba - Michel Batista El Caballo de la Salsa 28. Dime Lo Que Quieras - Komboloko 29. Salsa Ahí Na'ma - New York Sextet 30. La Clave - Wilson Tenorio 31. Reparando los Cueros - Hermes Manyoma y Su Orquesta La Ley 32. Descarga Total - Maraca 33. Asi se Baila mi Rumba - Kako y Su Combo 34. Costumbres - Orquesta Magica Caribeña 35. Caras Bonitas - Edgar Lopez 36. Descarga de Hoy - Alfredo Rodriguez/Jesús Alemañy 37. Es Solo Musica - Mamborama 38. Pantera Rosa - Panama Salsa Dura Mundial

This is an excerpt from the Percussion Instruction DVD Volume 1; Learning Congas

Although Detroiters have the recent record setting heat wave behind them, things are about to heat up again. This month, Detroit JazzStage presents the Latin Jazz group Tumbao Bravo, co-led by percussionist Alberto Nacif and Saxophonist/Flautist Paul Vornhagen, both of whom we interviewed for this month’s show. In addition to learning about the band we […]