Podcasts about Vroman

Liz and Lian catch up over Spring Break. Liz outlines her Med-Spa Vacation strategy. And Lian haslots of details about her new book and book tour schedule. Plus, Entertaining Sisters recs for The Residence on Netflix and Lian's Spring Pick Book Recommendations at this link: https://bookshop.org/lists/satellite-sisters-spring-2025-recommendations Happy 5th Birthday to The Sweeney Sisters. If you are a Kindle Reader or an Audible user, good deals happening now. The paperback of The Marriage Sabbatical is out April 15. Join Lian at the LA Times Festival of Books to celebrate. She'll be signing at Booth #34 sunday, April 27th. Noon to 2  RSVP to Abigail and Alexa Save the Wedding out on May 20th but available now. Find details on dates and pre-orders here" https://www.liandolan.com/events/ Pre-Order Signed copy from Vroman's here Book tour starts on May 20 in Pasadena and then... Santa Monica Carmel, Indiana Spring Lake New Jersey Newport Rhode Island Mystic CT Darien CT  Montecito, CA Newport Beach, CA  Learn more about your ad choices. Visit megaphone.fm/adchoices

Lian Dolan and Liz Dolan team up to wish Lian a happy birthday. It's a milestone birthday and Liz has some advice for Lian on the new decade. Plus, Lian's plan for a boffo 60 . Then a couple of fun segments from shows past to celebrate the day; Why we Love Chico's (Hint, the answer is that Diane Keaton photo shoot) and RIP, Sky Mall. Plus, Liz has Oscar wishes for the movie A Lien Want to celebrate Lian's birthday? Pre-Order a signed copy of Abigail and Alexa Save the Wedding from Vroman's in Honor of Lian's big day and to support a local Pasadena business after the fires. Here's the link. Find out more about Lian Dolan's books here. Thanks to Earth Breeze for supporting this podcast. Thanks to you for supporting the people that support us. Here is our special URL to order a subscription for Laundry Detergent Sheets at 40% off. Subscribe to Pep Talk, our weekly newsletter here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Luke Vroman is a close friend of Jordan's from Pennsylvania. He happened to be in town and hopped on to BS and talk about he sticks to old school hunting tactics and stays successful in the deer woods! https://www.workingclassbowhunter.com/ The HMD Podcast is part of the WCB (Working Class Bowhunter) Podcast Network! Check out the other awesome shows in the family: Working Class Bowhunter The Victory Drive Firearm Podcast Tackle & Tacos - A Fishing Podcast! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's episode is sponsored by @salesproducersinc, a progressive business to business company representing Gift, Lifestyle, Fashion, Personal Care, & Kids lines selling to retail stores with a mission to create long-lasting, profitable relationships by adding significant value to our Customer, Vendor, and Team partners. For more information, check out their social media or website www.salesproducersinc.comSusan Esayian is a native of the Pacific Northwest, and she's been working in the gift industry professionally for 26 years in a variety of roles. From merchandising Kitchen-Aid mixers, buying fine tableware and even carrying a four-poster bed up a mountainside for a catalog photoshoot... and that was just in the first 10 years! Since then, she's kept herself immersed in the gift industry as a buyer for a hospital gift shop and merchandiser for several wholesale showrooms and retailers. Retail is not just a job for Susan, but a career that she's inspired by and passionate about more every day.Fabian Navejas was born and raised in LA and is a self-taught creative leader and a bona fide retail nerd. With more than 25 years of multi-unit management experience in the retail home furnishings industry, he still feels he's in the beginning stages of his career. Currently, Fabian is a gift merchandiser and buyer for A.C. Vroman's, Inc., one of the oldest independent bookstores in the country, is 128 years old. A.C. Vroman's operates two bookstores in the Pasadena area and owns Book Soup in West Hollywood, CA, another independent bookstore founded in 1975.In addition to working at A.C. Vromans, Fabian, is also the founder of Onederkam.com, which is a small eCommerce gift and home accessories store. He also occasionally works on a variety of TV productions, doing everything from set dressing to working in the props department to being a shopper for the artdepartment. Fabian also worked at IKEA North America in several markets and as a district manager for  Z Gallerie.Eric Velez is a confident, competent, and imaginative interior designer with extensive experience in residential and commercial spaces ranging from 300k to 2m. With an excellent commercial approach to solving problems, Eric has a proven ability to create fresh solutions for the renovation of interior spaces or new construction.During his journey as an interior designer for the past 8 years, Eric has succeeded in all design projects, no matter how large or small. He believes that by having a broad understanding of people's living situations and needs in their everyday lives at home, you're able to design great solutions.In this merchandiser roundtable, we're chatting live from Las Vegas and digging into what everyone's working on. We also talk about how retail is a business of relationships and how interacting with others live at a show enhances the whole experience. Our roundtable discussion also includes a little about how each guest built their career and some really funny stories along the way!What's Inside:A roundtable discussion on the world of retail and merchandisingThe value of the live-show experienceHow each member started and grew their career Mentioned In This Episode:Susan Esayian on InstagramOnederkam WebsiteOnederkam on InstagramEric Velez on Instagram

There's a complicated set of emotions when a director works with an actor who passes after filming his final scenes. The director of the new historical fiction drama 1992 shares what it was like when one of his stars, Ray Liotta, passed away, the minefields of a racially charged story, and how Christopher Ammanuel could be the next Denzel Washington.

More than 50 million viewers begin each new year looking to Pasadena, tuning into the Rose Parade to see flower and seed-coated floats cruise slowly down Colorado Boulevard.  But to nearly 140,000 of those viewers, the “City of Roses” is home, a complex suburb of downtown Los Angeles with a deep history. Internationally known for the Rose Bowl, Jet Propulsion Laboratory, California Institute of Technology, Pasadena Playhouse, the Arts and Crafts Movement, Jackie Robinson, Julia Child, Octavia Butler, Mildred Pierce, its little old ladies, the Arroyo Seco, and so much more, Pasadena has played a greater role in American and Pacific histories than most of its residents even know.The fourth season of Western Edition — the podcast from the Huntington-USC Institute on California and the West (ICW) — digs deep into the “Crown City” of the San Gabriel Valley. Western Edition: Hidden Pasadena shares six little-known Pasadena stories, from Simons brickyard to Vroman's bookstore, St. Barnabas church to the Shoya House at The Huntington. It also considers Pasadenans from the past, from John Brown's children to John Birch's followers.

From Broadway to classics, on stage and in concert, Lisa Vroman has established herself as one of America's most versatile voices. She starred on Broadway, LA and SF as Christine Daaé in The Phantom of the Opera and garnered theater critics' awards for her portrayal. Her Broadway debut was in Aspects of Love and she was the first to play both Fantine and Cosette in Les Misérables. She has starred in major productions as Marian Paroo in The Music Man, Lili Vanessi in Kiss Me Kate, Birdie in Regina, Josephine in HMS Pinafore, Anna 1 in The Seven Deadly Sins, Rosalinde in Die Fledermaus, Laurey in Oklahoma, Anna Leonowens in The King and I, Mary Turner in Of Thee I Sing and Rosabella in The Most Happy Fella. Lisa appeared on PBS as Johanna in the Emmy Award winning production of Sweeney Todd and was featured in the London Royal Gala, Hey! Mr. Producer. She has played, sang and danced opposite Dick Van Dyke as Mary Poppins at the Hollywood Bowl Disney's 75th, and played the role of Maria Callas in Terence McNally's award-winning play, Master Class. Lisa is a frequent guest with symphonies including SF, Nashville, Philadelphia, Dallas, Utah, St. Louis, Houston, Pacific, Atlanta, Hong Kong, Cleveland, National, Florida, Cleveland, BBC Concert Orchestra, Boston Pops, Philly Pops, and the NY Pops. She is a graduate of the Crane School of Music, SUNY Potsdam (BM, Hon. Dr. of Music, Minerva Award), Carnegie-Mellon University (MFA), and is a George London Competition winner. Lisa has become an active mentor and sought-after clinician with many colleges and universities across the country and around the world. She has acted as a judge in both the Lotte Lenya Competition for the Kurt Weill Foundation and UCLA's Walter Jurmann Competition, and regularly performs Weill's music with symphonies throughout the country. Recent performances have included symphony concerts celebrating the music of George Gershwin, and her 2024 Bistro Award-winning cabaret, “Ingénue…Ingé-not-so-new!”, in NY. www.lisavroman.com Lisa also gave us the scoop on the upcoming "Broadway and Beyond" benefit for the Richmond/Ermet Aid Foundation. It's happening on July 14th at the Marines Memorial Theater, and it's set to be a night filled with incredible talent and heartwarming performances, all for a good cause. Trust me, you won't want to miss this intimate look into Lisa's world and the wonderful community she's part of. Head over to reef-sf.org for more details on the event. Let's support the arts together! Contact Ray at Green Room on Air: greenroomonair@gmail.com Leave a review on Apple Podcasts (iTunes) Visit Green Room On Air website: http://greenroomonair.com Connect with us on Facebook: https://www.facebook.com/raysgreenroom/

Fellas, today's episode is near and dear to my heart because I'm here with my very own Front Row Dad, Rick Vroman. Many of you are likely aware of my father's impact in shaping the man I am today, but we're digging a little deeper here and going back to my father's childhood and taking a peek into our own evolution as fathers. You'll hear what it was like for my father to grow up with a pretty demanding dad and his experiences and importance of hard work and providing for his family. But we'll also get into some fun stuff like fishing trips, where our athletic bloodlines and my entrepreneurial spirit come from, and some family traditions that go way back. We talked about the bond we share of never feeling pressured to follow in our father's footsteps, why my Dad never tried to nudge me toward a specific career or path in sports, and how the best parts of moving around so much as a child allowed me to explore and reinvent myself.  Finally, we talked about our Family Cornerstones document that my Dad created when I was very young, why he wrote it, and how much that document still means to both of us to this day. Happy Father's Day to all the Dads out there! A Wide-Ranging Conversation Through… Rick's childhood with a very demanding father  Carving your own path is sports, not your Dad's  Wishing for more heart-to-heart convos Parenting goal: Make the next generation better  Embracing responsibility, hard work and persistence The different seasons of fatherhood Being happy by NOT following in your father's footsteps What if we made different choices as young fathers? The Vroman's Family Cornerstones and core values Rick's vision for the future in his relationships Get the Full Show Notes Want access to the full show notes, including links to all resources mentioned during today's conversation? Visit FrontRowDads.com/443 More About Front Row Dads Connect with us @ FrontRowDads.com & Instagram  Want to hang out with other FRDs in Austin? Watch this 3-min video from our last Front Row Dads Live event. Tickets avail now for December's event.  Not able to travel? We got you. Join our next online event, built just for kickass dads who know there's more to learn. FrontRowDads.com/summit  FRD is solving a huge problem for dads. Our culture has turned “Dad” into a joke. Go ahead, google Dad and you'll find Dad Bod, Dad Jokes, Dad Weed, etc. Culturally, it's a Homer Simpson mentality, and it's BS.   Our community is built for solid men. Men with range. Those who are badass, and know there's still more to learn, together.   Most guys find it hard to find “their crew.” Finding other committed men, who are successful in life, and want to put family first – these guys are rare. Is this you? In FRD, hundreds of men from all over the world show up for each other, to share resources and raise the bar of fatherhood (our core values) If you're reading this, you want to grow.  Podcasts are great, but guys… when you're ready to stop just listening to content, and want to JOIN the conversations – the FRD brotherhood is ready for you.   One more thing…  Has this podcast helped you? If so, please tell us how we're doing. Please take a minute and leave a review. Seriously, they matter. Apple Podcasts, Spotify, or wherever you listen.  Subscribe to this show on Apple Podcasts | Google Podcasts  | Spotify

The Peoria Municipal Band prepares for its 87th season with an exciting schedule of 24 concerts starting with a Memorial Day performance on Monday morning at the Gateway Building.  Dr. David Vroman, former Director of Band Activities and the Department Chairperson for Music at Bradley University, has directed the Peoria Municipal Band since 1991. Greg and Dan talk to Dr. Vroman for a preview of the Band's upcoming performances this summer and the history of the Band.  Visit peoriamunicipalband.com for more information.See omnystudio.com/listener for privacy information.

CA lawmakers are urged to exempt new urban housing from environmental reviews. LA County's Rent Relief Program application reopens Monday for landlords. The region's oldest independent bookstore closes its Hastings Ranch location.   Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.com.  Support the show: https://laist.com

My beloved, fellow empaths…This may be one of the most life-changing, eye-opening episodes we've ever had on LFB. This week, Dr. Judith Orloff climbed in bed with us to teach all of us empaths how to live with ourselves, and give a little more sustainably. Dr. Orloff is the New York Times bestselling author of masterpieces like "The Empath's Survival Guide” (my favorite), ‘Thriving As An Empath', and most recently, ‘The Genius Of Empathy'. Dr. Orloff has been called “the godmother of the empath movement”, she specializes in treating empaths and highly sensitive people.    In this episode you'll learn:  How to master the art of the “loving no” The difference between compassion and empathy How to protect yourself from energy vampires Self-soothing techniques for empaths + highly sensitive people how to avoid absorbing other peoples' stress Tools for protecting yourself from addictive tendencies, exhaustion, and compassion fatigue  Breaking the momentum of sensory overload   To buy the book that changed my life click here.   To buy Dr. Orloff's new book ‘The Genius of Empathy' click here.    **Book talk and signing for The Genius of Empathy at Vroman's Books in Pasadena May 8th 7PM**   CALL/TEXT THE LFB HOTLINE: ‪(341) 529-1604‬   Click here to subscribe to my newsletter BedCrumbs!    Executive Producers Jade Iovine + Catherine Law Audio Engineer Brandon Dickert  

Notes and Links to Kate Brody's Work        For Episode 232, Pete welcomes Kate Brody, and the two discuss, among other topics, her early love of, and interest in, writing and reading, The Dave Matthews Band, formative and transformative teachers in grad school and 2nd grade, and salient themes and topics and craft decisions from her novel, Rabbit Hole, including online sleuthing, true crime, moralizing or lack thereof in fiction, and grieving.        Kate Brody lives in Los Angeles, California. Her work has appeared in The New York Times, The Guardian, Lit Hub, CrimeReads, Electric Lit, The Rumpus, and The Literary Review, among other publications. She holds an MFA from NYU. Rabbit Hole is her debut. Buy Rabbit Hole   Review of Rabbit Hole in Alta Journal by Jessica Blough   Kate Brody's Website At about 1:50, Lukewarm/Warm Dave Matthews Band takes! At about 3:40, Kate talks about growing in New Jersey and about her childhood relationship with the written word, as well as her connections to Maine, a setting for her book At about 7:00, Pete and Kate reflect on beautiful, long reading days At about 8:00, Kate gives background on her reading and writing life in adolescence and beyond At about 10:00, Kate discusses the transformative short story and writing classes and texts at NYU, including inspiration from Mary Gaitskill's work and teaching and Professor ‘s guidance At about 13:00, Tali Axelrod's (Doctor Axelrod) influence on Kate's writing trajectory is highlighted  At about 14:25, Kate shouts out Lindsay Hunter, Alexandra Tanner, and Jennifer Bell as contemporary writers who thrill her At about 16:55, Kate discusses how teaching informs her writing and vice versa At about 20:50, Pete shouts out Rabbit Hole's dynamic first line, as given kudos by Jean Kyoung Frazier on the book blurb, and Kate provides background on the line's genesis and her choice to use present tense right away At about 24:30, Pete remarks on the “banality of grief” done so well At about 25:30, Angie is characterized and the book's exposition discussed; Kate remarks on the memories and objects left behind by Angie, while speaking to experiences in her life that connect to the book's events At about 29:30, The two discuss ideas of legacy and remembrance, as shown through the characters in the book At about 30:15, Clare's marital situations and the unique family background of the Angstroms is highlighted and explained by Kate At about 33:35-Pete asks for casting suggestions for Teddy, the narrator's mother, Clare At about 34:10-Kate discusses research and connections for the parts of the book on Reddit and true crime and crime fiction  At about 39:25, Pete brings up ideas of secrets that Teddy held about his sister and the rearrangement of memory that comes after loss At about 40:30, Michaela, “Mickey,” is characterized At about 46:00, Kate responds to Pete's asking about Bill and how she sees him; she expands on ideas of moralizing in literature  At about 49:30, Kate outlines some “detours” in the plot At about 50:25, Pete highlights a chaotic and funny scene that involves a dinner scene At about 52:00, Kate talks about the scenes involving Teddy and the gun range and the importance of her having a gun At about 56:10, The two discuss a cringeworthy and craftily-drawn and hilarious school dance scene At about 59:15, Pete makes points about loneliness as a theme running throughout the book, and Kate reflects on this throughline At about 1:04:00, Kate discusses ways of coping with trauma in the book At about 1:05:00, Pete highlights Kate keen writing regarding unfulfilled potential and shares a moving  At about 1:08:50, Kate talks about her exciting next book At about 1:10:55, P&T Knitwear, Skylight Books, and Vroman's are highlighted as good places to buy her book       You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.     I am very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review-I'm looking forward to the partnership! Check out my recent interview with Gina Chung on the website.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    I have added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    Thanks to new Patreon member, Jessica Cuello, herself a talented poet and former podcast guest.     This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 233 with Jazmina Barrera Velasquez, who is a fellow at the Foundation for Mexican Letters. Her book of essays, Cuerpo extraño, was awarded the Latin American Voices prize from Literal Publishing in 2013, and she is the editor and co-founder of Ediciones Antílope, and author of, most recently, Cross-Stitch.     The episode will go live on April 30 or May 1.    Please go to ceasefiretoday.org, where you will find 10+ ways to call for a ceasefire in Gaza.

Lian, Liz and Julie decide to spend a whole new episode just catching up! Where have they been? What are they watching + reading? What's coming up from Satellite Sisters? Lian has the latest on her new book The Marriage Sabbatical. It's a National Bestseller now! Thank you to all who pre-ordered, asked for it at their library and are posting recommendations on their own socials. Julie spent a weekend with her college women's group The Aging Models. It's their 30th anniversary of getting together annually! You can't make new old friends. Liz went to a Bruce Springsteen concert in LA and doesn't regret a bit of it, even though all that dancing may not have been ideal for her new knee. Just ask her physical therapist. Plus, Lian went to see Valerie Bertinelli at Vroman's and demands "Get that woman a talk show!". Here's Valerie's new cookbook. Indulge. Thanks to our advertisers! We appreciate your support. Listeners, you can support the podcast by using the special urls and promo codes: Jenni Kayne https://jennikayne.com. Use promo code sisters BritBox https://BritBox.com Use promo code sisters Prose https://prose.com/sisters Osea https://oseamalibu.com Use code satsisters Butcher Box https://butcherbox.com/sisters Use code sisters Entertaining Sisters: Liz recommends Scoop on Netflix. A dramatization of the disastrous Prince Andrew BBC interview starring Gillian Anderson and Rufus Sewell. Lian's recommended books: What Happened to Nina by Satellite Sisters favorite Dervla McTiernan. Trail of the Lost: The Relentless Search To Bring Home The Missing Hikers of the Pacific Crest Trail by Andrea Lankford. New 2024 Satellite Sisters episodes to download: Fitness and Aging with guest Liz Neporent. 3/12/24 Colon Cancer Diagnosis, Treatment and Lessons Learned. 3/19/24 Women's Wellness Through Transitions like Menopause with MEA 3/26/24 Information about MEA Workshop Lian is attending in June: A Lifetime of Women's Wellness: Thriving Through Transitions with Dr. Suzanne Gilberg-Lenz The Marriage Sabbatical Pub Day Book Talk by Lian Dolan. No spoilers! 4/2/24 Upcoming Episode: April 30: A Satellite Sisters Travel Special featuring Lauren Bates from Wild Terrains and Julie's report on her recent trip to New Zealand. Lian Dolan's books: For information on Lian's novels, including The Marriage Sabbatical, her latest book out now, please visit liandolan.com Join our community: Facebook Page, Facebook Group and on Instagram and Twitter @satsisters. Visit the Satellite Sisters website here: https://satellitesisters.com Visit + subscribe to the Satellite Sisters YouTube channel here: https://www.youtube.com/@satellitesisters7265 Shop the Satellite Sisters store here: https://satellite-sisters-shop-5893.myshopify.com/collections/all Email Satellite Sisters at hello@satellitesisters.com. Follow Lian Dolan on @instagram @liandolan Follow Liz Dolan on @instagram @satellitesisterliz Follow Julie Dolan on @instagram @julieoldestsister Satellite Sisters, The Marriage Sabbatical, Liz Dolan, Lian Dolan, Julie Dolan, Santa Monica, Dallas, Texas, Valerie Bertinelli, Jon Bon Jovi, Bruce Springsteen, women's health, women's fitness, friendship, Book Tours, Portland, Oregon, Santa Fe, New Mexico, Learn more about your ad choices. Visit megaphone.fm/adchoices

Amber Vroman is the Director of the BSN Program at the University of Missouri's Sinclair School of Nursing. In addition, she and her husband, Chris, own and operate Foxtail Farms, Inc., in Higbee, Missouri. Amber is an incredible momma to four precious blonde-headed girls: Avery, Adalyn, Etta Jane, and Annie. If you haven't figured it out by now, Amber is a superwoman; her superpower is taking great care of people and creation! In this episode, Amber shares her story and speaks about the important roles faith, family, and friends have played in her life. We invite you to kick back, relax, and listen in on a conversation between friends! #livesimplylovemuch

Vroman's Bookstore in Pasadena opened in 1894. Now owner Joel Sheldon III is looking for a buyer who will keep catering to the local community. Sora can use a few word prompts to create one-minute videos showing full scenes, motions, and characters. A filmmaker who's been tracking AI use was floored by Sora.  George Gascon became LA's district attorney with a progressive vision of restorative justice. Now he faces a swath of challengers who say he's gone too far. Noel Fielding is known in the U.S. for co-hosting “The Great British Bake-Off.” In a new streaming show, he plays an infamous British highwayman, but with a twist.

*patron-only bonus episode teaser*This episode features audio from a February live show at Vroman's Bookstore with NYT bestselling novelist Kiley Reid (Such a Fun Age, Come and Get It). Kiley talks about her approach to character development and satire; she also reveals what she hopes her audiences take away from her work, and why she primarily cares about being entertaining.*This episode is exclusive to members of The Stacks Pack on patreon. To join this community, get inside access to the show, and listen now, click the link below.JOIN THE STACKS PACK TO LISTENYou can find everything we discuss on today's show on The Stacks' website:https://thestackspodcast.com/2024/02/23/tsu-31-kiley-reidConnect with Kiley: Instagram | Twitter | WebsiteConnect with The Stacks: Instagram | Twitter | Shop | Patreon | Goodreads | SubscribeSUPPORT THE STACKSJoin The Stacks Pack on PatreonPurchasing books through Bookshop.org or Amazon earns The Stacks a small commission.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

#227: Today, we're once again enlisting some local independent booksellers to help us understand L.A. better. This time we headed to Tía Chucha's Centro Cultural & Bookstore in Sylmar, Octavia's Bookshelf in Pasadena, Vroman's Bookstore in Pasadena and Reparations Club near West Adams. Books mentioned: "Ask the Dust" by John Fante "Mercurochrome: New Poems" by Wanda Coleman "Always Running" by Luis J. Rodriguez "Kindred" by Octavia Butler "Parable of the Sower" by Octavia Butler "The Lost Cause" by Cory Doctorow "KAOS Theory: The Afrokosmic Ark of Ben Caldwell" by Robeson Taj Frazier with Ben Caldwell "There Goes the Neighborhood" by Jade Adia "The White Boy Shuffle" by Paul Beatty "South of Pico: African American Artists in Los Angeles in the 1960s and 1970s" by Kellie Jones

On this week's episode, Nathan, Mike, and Mahler the Deep Fake News Dog talk about reusing graves, Uno, gas station heroin, cancer immunization, Sports Illustrated's troubles, The Baltimore Sun's troubles, Los Angeles Times' troubles, Pitchfork's troubles, machine-translated garbage, the human behavioral crisis, parking lots, student debt cancellation, the California State University strike, facial unrecognition, lunar bottoms up, bricking HP printers, the sale of Vroman's, losing your nose wheel, and so on.

Today on AirTalk, local bookstores Vroman's and Book Soup go up for sale. Also on the show, LA County DA candidate Eric Siddall; everything you need to know about Guatemala's new president; fan etiquette and more. Iconic Local Bookstores Vroman's, Book Soup To Be Sold, Owner Says (00:17) LA District Attorney Race: Deputy DA Eric Siddall (18:09) How To Properly Fan Over A Celebrity You Admire (34:36) After A Long Fight, Guatemala Has a New President – Can He Deliver On His Promises? (51:36) WSJ Investigation Sheds Light On Boeing Manufacturing Issues That To Alaska Airlines Incident (1:07:08) TV-Talk: 5 Shows To Watch Including ‘All Create Great and Small' & ‘Death and Other Details' (1:20:54)

Emma Forrest is a British novelist, screenwriter and director, and joins us to chat about her newest book, BUSY BEING FREE, about her marriage to Australian actor Ben Mendelsohn.Order BUSY BEING FREE here https://www.amazon.com/Busy-Being-Free-Starting-Again/dp/1474620647/Emma is appearing at Vroman's in Pasadena October 23https://www.vromansbookstore.com/Emma-Forrest-discusses-Busy-Being-Free Hosted on Acast. See acast.com/privacy for more information.

Journey with us into the world of wrestling, where physical strength meets mental endurance, narrated by our distinguished guest CJ Vroman, the mastermind behind First Fitness Training Facility. CJ, an accomplished athlete, coach, and Air Force member, opens up about his enthralling odyssey, from his humble beginnings in Twin Lakes, Wisconsin, to the apex of his wrestling and coaching career. His riveting narrative will keep you hooked as he shares tales of neighborhood adventures, mid-school wrestling bouts, and the profound influence of Arnold Schwarzenegger's Encyclopedia of Modern Bodybuilding on his life.Wrestling, however, is just the opening act of CJ's athletic journey. Hear about his seamless transition into powerlifting, the intense training regimen he adopted, and his decision to join the Air Force, a choice that pushed him to new physical and mental extremes. His unique experiences coaching youth wrestling, particularly his time with the Stateline Wrestling Club and his creation of the Panther Wrestling Club, offer invaluable insights into the trials and triumphs of guiding young athletes.But this episode is more than just a walk down memory lane; it's an exploration of the athletic world's inner workings. From understanding the psychological aspects of sports to unraveling the intricacies of coaching, we dig deep into the complexities of fostering athletic growth. Learn about the significance of good coaches, the potential pitfalls of youth wrestling clubs, and the importance of cultivating cooperation among athletic training facilities. By the end of this episode, you'll become well-versed in the realm of sports and fitness, seen through the lens of CJ's inspiring story. So sit back, relax, and step into the shoes of a true wrestling aficionado and fitness enthusiast.Give the Gift of Podcasting This SeasonHelp someone you care about start a podcast this season with a gift card from RSS.com. Support the showAppleton Tattoo Linkshttps://www.facebook.com/appletontattoohttps://www.instagram.com/mark_appletontattoo/920 Hat Co. Linkshttps://920hatco.com/https://www.instagram.com/920hatco/https://www.facebook.com/920HatCo

In this episode, Part 2 of my conversation with Kuniko Vroman, we talk about how she started Helping Hoof⁠⁠, her non-profit, equine-assisted therapeutic services organization. Then, we talk more about the therapeutic experiences Kuniko facilitated for me as I worked with the horses. If you haven't listened to Part 1 of our conversation you might want to go back and start there. Through working with Kuniko, I was able to overcome a lifelong fear of horses and gain invaluable insights into myself and my default ways I'd been walking in the world that were no longer serving me. To connect with Kuniko or learn more about equine-assisted therapeutic activities and services, check out her website for Helping Hoof⁠, the non-profit  501(c)(3) organization she founded that provides equine assisted therapeutic activities to individuals experiencing mental, physical or developmental challenges.  You can also follow her on Instagram at ⁠@helpinghoofeaat⁠.   You can follow me on Instagram at: ⁠⁠⁠⁠@karen.e.osborne⁠⁠⁠⁠ Click on this link to join Club Sandwich (the LITSZ Private Facebook Group): ⁠⁠⁠⁠LITSZ_Club_Sandwich⁠   --- Send in a voice message: https://podcasters.spotify.com/pod/show/karen-osborne9/message

In keeping with the theme of mental health awareness this month, this week I'm sharing with you about yet another outside-the-box therapy modality. This one involves horses.   I first became curious about equine therapy (aka “horse therapy”) when Linny was in residential mental health treatment. In the programming at “res” (as it's often called), each week the treatment facility would take participants on a trek out to a place that specialized in equine-assisted psychotherapy. Equine Assisted Psychotherapy has been shown to help with a myriad of challenges – such as, relationship issues, depression, anxiety, anger management, trauma and recovery. The horses act as a sort of a mirror for the person they are working with and provide direct and non-judgmental feedback that helps clients to become grounded in the present moment, identify unproductive patterns, and create change in the moment. (You can check out Stand InBalance for more information.) In this week (and next week's) episode, I talk with equine-assisted therapeutic facilitator, Kuniko Vroman. I connected with Kuniko after having repeated soul-stirrings that kept nudging me to try equine therapy. By following a series of Divinely inspired breadcrumbs, I connected with Kuniko and, before returning to work from my leave of absence, met with her weekly for a short while to see what this horse therapy thing was all about.  If you haven't noticed by now--I'm a talker. So, when Kuniko and I sat down to talk about all things equine-assisted psychotherapy/therapeutic services, we talked…and talked…and talked. The next thing I knew, we'd been talking for over 2 hours! We covered so many good subjects that I couldn't bring myself to edit our conversation down to only one episode. Hence, you get back-to-back weeks horsing around with us!   To connect with Kuniko or learn more about equine-assisted therapeutic activities and services, check out her website HelpingHoof.org. Helping Hoof, is the non-profit  501(c)(3) organization Kuniko founded to fulfill her mission of providing equine assisted therapeutic activities to individuals experiencing mental, physical or developmental challenges.    You can also follow her on Instagram at @helpinghoofeaat.   You can follow me on Instagram at: ⁠⁠⁠@karen.e.osborne⁠⁠⁠ Click on this link to join Club Sandwich (the LITSZ Private Facebook Group): ⁠⁠⁠LITSZ_Club_Sandwich   --- Send in a voice message: https://podcasters.spotify.com/pod/show/karen-osborne9/message

Nicole Presley is a Latina culinary rockstar with an inspiring story. She left her career in marketing behind to pursue her dream of creating her own culinary brand. She started vlogging in 2011, and eventually, her brand took off. If her name sounds familiar, it's because you may have seen Presley's Pantry on the shelves at Target or Walmart. Perhaps you've seen her book “Viva Desserts” on the shelves at Vroman's. She is an incredibly talented woman with a story that will make you want to get out there and pursue your own dreams. We chatted about food, matchmaking, marriage, and food again - because why not? This episode will leave you feeling hungry, in every way possible. Press play, foodies! https://presleyspantry.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/thisisez/support

This episode is also available as a blog post: https://thecitylife.org/2023/04/26/the-green-room-42-presents-broadways-lisa-vroman-international-star-of-the-phantom-of-the-opera-with-two-shows/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Michelle Lam is a story artist who has worked in Hollywood on various animation projects seen on Netflix and elsewhere.  In her "spare time," she creates comics and videos on Instagram and YouTube.  Her popular videos have been viewed millions of times and answer questions about her art school/career arc and gives glimpses of life as a working artist.  And as of today, March 21st, she is a published graphic novelist!  Her book Meesh the Bad Demon, is out and available everywhere.  Meesh The Bad Demon is for middle readers and addresses issues about identity, belonging, prejudice, and courage. It's a really fun read, my daughters recommend it!  Published with  @randomhousekids  @knopfkids @penguinrandomhouse @aaknopf  MEET MICHELLE in person at her RELEASE PARTY on Saturday March 25th, 2023, from 2-4 PM at Vroman's Bookstore in Pasadena! For more details or to see more of Michelle's work and watch her videos, go to @mewtripled on Instagram or YouTube!   Helping me on this episode with some art questions is our old pal Hayden (@Haydenthewu)  He worked in game development and is now doing content creation for the personal electric vehicle space.  You can let us know your thoughts at: infatuasianpodcast@gmail.com, or via direct message on Instagram and Facebook @theinfatuasianpodcast  Please follow us wherever you get your podcasts.  We would love your ratings and reviews over at Apple Podcasts and Spotify! Our Theme: “Super Happy J-Pop Fun-Time” by Prismic Studios was arranged and performed by All Arms Around  #meeshthebaddemon #bookstagram #graphicnovel #comic #artistsoninstagram #artistsofinstagram #asianpodcast #asian #asianamerican #infatuasian #iinfatuasianpodcast #aapi #veryasian #asianamericanpodcaster #representationmatters  

Mom Stomp talks sledding in Big Bear, CA but FIRST angels, angels everywhere at The Boulevard Bar in Pasadena, our lesbian Damn-Annie moment, a reminder to our listeners that THEY are as loved as Dr. Emoto's water, screen grabbing Brit's posts while you can, Blue Ivy's birthday, tracking down Rihanna's nails at Nobu, VMs from Paul, Steph and Irene, check in from Liza, and a big old stomp for Vroman's Bookstore/any bookstore that's DOING THE DAMN WORK. #womanandchildrenFIRST #vromansbookstore #dremoto #j-o-gay-o #gayoBiden

Robert Vroman - 86 en bekend als Bertje De Orgelman - vertelt je in deze uitzending hoe je begint met een draaiorgel. Volgens Bertje is daar niks moeilijk aan... Als je er voor leeft. Als je cadans houdt. Als je een draaiorgel weet te onderhouden. Als je van de muziek houdt. En als je ook es muziek speelt die je zelf minder graag hoort… voor het publiek. Als… Ja… Dus… Zo simpel is het niet. - Het orgeldraaien en kermisorgels zijn cultureel erfgoed. - ikwashier.live archiveert tradities en erfgoed, vooral immaterieel of ‘levend' erfgoed, gewoontes en gebruiken die verdwijnen.

Kermissen verplaatsen zich vandaag met moderne wagens in enkele uren. Vroeger ging dat van dorp naar dorp… als een slak… 20 kilometer per uur een helling op met puffende en ronkende vrachtwagens. Een tocht van soms wel een dag. En nog vroeger werden de kermiswagens met paarden tot aan het station getrokken en daar opgeladen. Het duurde soms dagen voor ze met de trein op de volgende bestemming waren. Robert Vroman, 86, doet het verhaal van de kermis, vroeger en nu. - De kermiscultuur, het orgeldraaien en kermisorgels zijn immaterieel cultureel erfgoed. - ikwashier.live archiveert tradities en erfgoed, vooral immaterieel of ‘levend' erfgoed.

Crystal is originally from upstate New York with a background in Equestrian studies and strong military ties serving Active Duty Army for a number of years.In this episode, we learn about tools from the mortgage industry from credit reports to VA loans.  There are left and right limits and guidelines for a reason said, Crystal.Why VA loans sometimes get discriminated against?Book recommendations - Message to Garcia by Elbert Hubbard  Find out more about Crystal and Lender products at www.CatLadyLender.com This episode is sponsored by WIN Home Inspection of RaleighSchedule your next home inspection anytime at www.raleigh.wini.com We See More. Clearly. 

Recorded live at Vroman's Bookstore in Pasadena! Jeff and Phil welcome novelist Wesley Chu, author of the epic fantasy The Art of Prophecy. He talks about writing fight scenes, allowing his characters to do what they want to do, and why this wuxia-inspired novel is the story he's been wanting to tell his whole life.

Two great interviews this week with two luminaries of immersive.First: writer Margaret Kerrison, whose work includes Star Wars: Galactic Starcruiser and Guardians of the Galaxy: Cosmic Rewind, joins us to talk about her new book Immersive Storytelling For Real and Imagined Worlds: A Writer's Guide. This is a must-read for everyone who makes immersive work. Period, full stop. Then Charlie Miller, Executive Director & Curator of the Denver Center for Performing Art's Off-Center program, stops by to talk about Off-Center's new position in the DCPA and the work they have on tap for Denver in the Fall.Show NotesMargaret Kerrison, In Conversation With Nancy Seruto at Vroman'sTheatre of the MindThe DIGReview RundownCall Sheet Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Our guest today is Dr. Hank Schlinger. He's a professor at California State University in Los Angeles. Hank got into the field through working with kids with autism through his undergraduate program. He practiced ABA techniques, which were then known as behavioral modification, and the results he witnessed in the children he worked with made a lasting impact on him. Today, Hank is a successful author of several books, including “How to Build Good Behavior and Self-Esteem in Children”, which puts ABA in practical terms for readers. There's a misconception amongst teachers and parents that bad behavior needs to be punished out of a child. It takes much more than a book or a workshop to change this perception and much more involved training is needed. It might be more helpful for agencies to shift their focus on parents and family members instead of teachers. Parental coaching is so important, and some ABA practitioners might be averse for any number of reasons. Using a book like Dr. Schlinger's helps provide a road map for those in the field who may struggle with helping parents understand the importance of working with behavioral techniques. We don't place enough of an emphasis on self-esteem and how poor self-esteem can reinforce bad behavior. Whether you're new in the field or you're a seasoned veteran, being grounded in experimental analysis greatly helps you come up with solutions for a variety of situations. Thinking critically and problem-solving is a foundational skill and we need to do better as a field in these areas, especially when it comes to training. What's Inside:Why parental involvement and practice is so important in creating lasting behavioral changes.Why parent coaching should be a focus in ABA and what to do when practitioners are averse.How fostering positive self-esteem in children helps reinforce good behavior.Why critical thinking and problem-solving are foundational skills as a practitioner.Mentioned In This Episode:HowToABA.com/joinHow to ABA on YouTubeFind us on FacebookFollow us on Instagramwww.buildgoodbehavior.comDr. Hank Schlinger on InstagramBooks: Introduction to Scientific PsychologyA Behavior Analytic View of Child DevelopmentHow To Build Good Behavior and Self-Esteem in Childrenalso available at: Vroman's BookstoreBF Skinner and the Revolutionary Science of Behavior

This week's episode is part of our Life After Z Gallerie series. Michelle worked closely with both Fabian & Melissa during her time at Z Gallerie.Fabian was born and raised in LA, is a self-taught creative leader and a bona fide retail nerd.  With more than 25 years of multi-unit management experience in the retail home furnishings industry, he still feels as if he is in the beginning stages of his career. Currently, he is a Gift Merchandiser & Buyer for A.C. Vroman's Inc., one of the oldest independent bookstores in the country, 128 years old.  A.C. Vroman's operates 2 bookstores in the Pasadena area and also owns Book Soup in West Hollywood, CA, another independent bookstore founded in 1975.  In addition to working at A.C. Vromans, he is also the Founder of Onederkam.com, which is a small eCommerce gift and home accessories store. His side hustle!! He has also worked at IKEA North America at the following markets - San Francisco, Connecticut, Philadelphia, and for IKEA A.B. in Malmö, Sweden as Communications & Interior Design Manager for 10.5 years.  Prior to IKEA, he has worked as District Visual Manager for Z Gallerie covering a variety of markets in the US - So. California, Midwest, East Coast, and Northwest Merchandiser of the Year while working there.Melissa Hesse is a Southern California native raised in the San Gabriel Valley, a mom to two amazing young men, and has been happily married to her husband of 25 years, Bill.She doesn't have a degree in art but somehow has made it her career. She started at Z Gallerie back in 1993 as a part time sales associate while going to college. She spent the next 14 years there, holding almost every position possible there but always found the art department my home. After 6 years in the stores, she moved into the corporate office and spent the next 8 years in the art department as the Merchandise Planner and Assistant Buyer. She would help select the artwork for, at that time 70+ stores. She went on buying trips, worked with publishers and wholesale framers on new merchandise for the stores. FUN was the best way she would describe it. She grew up at Z Gallerie, met lifelong friends (Michelle and Fabian included!), got married, had kids, bought their first house. After 14 years she made the leap to Third and Wall Art Group which was a vendor we purchased posters from. She has been with Third and Wall for almost 15 years and was recently promoted to Creative Director.Michelle, Fabian & Melissa recant their different roles, funny stories, challenges & growth within Z Gallerie and how that paved the way to their current careers. Check out the episode on YouTube and get a glimpse of Melissa's Chris Hemsworth photo blanket her kids gifted to her!Fabian NavejasWebsiteInstagramMelissa HesseWebsiteInstagramFacebookThis week's episode is brought to you by Fine Lines Company, a west coast wholesale rep agency with showrooms in LA, Las Vegas and Seattle. Fine Lines represents over 50 fabulous gift, fashion + home lines.

The full complement of pop culture coverage returns for Sassy's May 1989 issue, PHEW. Following a What Now full of shrug items that read a lot like placeholders (what fell out?!), we're on to a very effusive Watch It, featuring Chances Are in the HIT slot and four-star reviews for Sing (not the one with animated animals) and Heathers. Listen Up vibes with Robyn Hitchcock and Elvis Costello's latest, Spike, but not even resident headbanger Laura could get on board with Skid Row's self-titled album. Matthew Sweet is our One To Watch, and then we close up with a profile of a very buttoned-up Debbie "Deborah" Gibson, and a set visit to a video remake (?) by Breathe. No need to raise your Hands To Heaven and pray for it: our latest episode is right here!QUICK LINKS

Have you ever wondered what it takes to stay sharp and healthy in a profession where you are always "on"? What does a morning routine look like for a full time MD in America? Dr. Vroman answers that on Episode 2 as she shares her journey about what made her train and compete in one of the world's most grueling physical feats- The Ironman! If you would like information about how to get plugged into a community of growth mindset individuals, who are actively pursuing a healthy mind, body, and soul, please Fill out this link: https://forms.gle/2QjGJi7ARfvCQxMD9  I look forward to connecting with you.

On this episode of the podcast, Keaton and Kyle talk with Kylie Vroman on her experiences guiding in Alaska, her thesis research and what it's like to be a young female guide in the fishing industry. This is a great episode with some laughs, good stories and a good message. You don't want to miss this one! Heather's Choice: Use our code "THEYOUNGGUIDES10" at checkout to save some dough (ha, punny) or follow our link at: https://lddy.no/12lzd

The boys are back in town! Going back to our roots for this episode THE LAST ACTION HEROES take to the grimy, crime ridden streets of San Francisco in a beat-up blue Cadillac convertible as we check out the gritty 1982 odd-couple classic 48HRS.Whilst investigating a simple case of credit card fraud, grizzled San Francisco cop Jack Cates (Nick Nolte) has a bloody encounter with recently escaped convict Albert Ganz (James Remar) and his psychotic right hand man Billy Bear (Sonny Landham in his 386th role as Billy). Barely getting away with his life and wanting revenge, Cates takes on the case to track down these violent fugitives and bring them to justice…dead or alive. Enlisting the help of ex-gang member Reggie Hammond (Eddie Murphy), who is currently serving the last few months of a 3-year prison sentence, Cates has 48hrs to crack the case and find Ganz before his informant Reggie must return to his cell and Ganz and Billy Bear skip town with Reggie's nest egg: $500,000. Will the duo be able to put aside their differences and work together? Will Reggie finally get some? Will Dan ever manage to construct a cohesive sentence in this episode?With a slew of hard-hitting writing talent, stark narrative and visual contrasts, layers of dark humour and a stellar breakout performance from Eddie Murphy in his first film role, we get into this surprisingly hard-boiled, violent movie that would go on to set the formula for the buddy cop sub-genre for years to come.Featuring the whiskey breakfast chugging, ‘one day till retirement' tones of Hardboiled Grumpy Detective Jack'SPER Cates, LEON-ggie Hammond, Billy BJORN, and Albert DANz.This episode is brought to you by Vroman's in the Fillmore, where the party goes on 48hrs a day. ---------- Find us on Twitter: @TL_ActionHeroes Or find us on Instagram: @thelastactionheroespodcast

It is release week for some of our favorite people, and we're here to celebrate with them! Join us for a wild conversation about the books Jen refers to as “the brightest bananas on the tree” — each of us has selected a truly wild ride of a book, and we're going to share them with you! We also talk about their fabulous new release, now Sarah's favorite CLo book, The Soulmate Equation. Preorder it at Amazon, Barnes & Noble, Kobo, Bookshop.org, or signed from Vroman's bookstore! Our next read along is out of print (but available in audio!), so you will have to do a bit of a used bookstore hunt to get it! Get Anne Stuart's truly eye-widening Tangled Lies at your local library or via a used bookseller near you. We recommend checking Amazon, eBay & Thrift Books. Thank you, as always, for listening! Please follow us on your favorite podcasting app, and if you are up for leaving a rating or review there, we would be very grateful!Show NotesIf you'd like to order signed copies of The Soulmate Equation, check out Vroman's Bookstore or the other book shops on CLo's virtual book tour. Tonight, 5/19/2021, Christina and Lauren are celebrating the launch of The Soulmate Equation with Sarah, Xio Axelrod, and Rachel Epstein. If you want to dive into the Theranos story, Lo recommends the book Bad Blood by John Carreyrou, and the New York Times has a list of recommended things to read and watch. 23 & Me and other DNA Ancestry tests can tell you some things: whether or not you think cilantro tastes like soap, and about the size of our hair follicles, but as of right now, science can't tell you much about your fated mate, I mean soulmate.Questions about the future of technology and how it intersects with humanity make for great television in shows like Black Mirror, The One, and Casual.I don't know, maybe you've heard about there being a fundamental incompatibility between science and religion, but others are pretty sure we can work it out.If you're not a sportsball fan, Michael Jordan is a kind of a big deal. Aphrodisia was a short-lived Kensington imprint that focused on erotica and erotic romance, it ran from 2006 to 2014. Jen asked if it was Ellora's Cave, which was another powerhouse erotic romance publisher that shuttered in 2014. A satyr is a magical creature from Greek mythology, so we're not sure if they 1) have two dicks and 2) if they are covered in soft fur. You're going to have to use your own imagination.We all hope that Nicholas the satyr is a little sexier that Mr. Tumnus from the movie version of The Lion, the Witch and the Wardrobe.Slate had a woman asking for advice about her pandemic threesome with two brothers, and you can tell a romance reader didn't write that advice, because probably they could work that out. Jen alerted Jenny Nordbak immediately, of course. Are you also looking for monster fucking romances? If you need a quick review on alpha traits, listen to our episode from season two.Knotting isn't just for A/B/O, it's also in romance. Same with mPreg romances and DP (which no one has made a list of!), in case you need a primer. Lo is looking for a romance that she thinks is called Passionate Ink about an octopus shifter tattoo artist...Maybe? Christina wants your favorite mPreg romance recommendation. We'll also take marriage of convenience recs and secret scar recs if you're in the mood.More about the word "quim" and how it was used in that Avengers movie. Next up, Tangled Lies by Anne Stuart. Buy it used because it's not avaible as an eBook.

We're talking Sherry Thomas's beautiful, unrequited love/marriage of convenience story Ravishing the Heiress this week — we'll talk about angst, about why we love yearning so much, about our feelings about heroes who are dummies, about homes vs. houses, and about Victorians being E X T R A.Next week, we're back with the delightful Christina Lauren to play a very fun game with bananas romance novels and celebrate the launch of their fabulous book (now Sarah's favorite CLo book), The Soulmate Equation. Preorder it at Amazon, Barnes & Noble, Kobo, Bookshop.org, or signed from Vroman's bookstore! We're also going to announce our next read along now, because it's out of print (but available in audio!), so you will have to do a bit of a used bookstore hunt to get it! Get Anne Stuart's truly bananas Tangled Lies at your local library or via a used bookseller near you. We recommend checking Amazon, eBay & Thrift Books. Thank you, as always, for listening! Please follow us on your favorite podcasting app, and if you are up for leaving a rating or review there, we would be very grateful!Show NotesThis is the Eurographics Moon Puzzle that Jen is doing, and it's too hard. There is a very funny tweet thread trying to drag the Shadow and Bone TV show, but the replies are terrific. Jen was texting Sarah in the middle of the night about Ravishing the Heiress, because of the angst! Here's an interview where Sherry Thomas talks about how reading romance influenced her as a writer.We talked about time slip quite a bit on the episode for A Matter of Class by Mary Balogh.Millie is 16 at the beginning of the book, and because Jen forgot to talk about it, she wrote a thread about Sherry's deep respect for teenage girls. A little bit about the history of tinned food and the rise of advertising in Victorian England.All about the dormouse and keeping them as pets, if you're into that sort of thing. Give us some credit for not making a joke about Of Mice and Men, thank you. The Victorians were super extra. Here's a primer on women in business in the Victorian era. Floriography is the Victorian name for the language of flowers, which ascribes meanings to flowers and plants. For example, chrysanthemums and lavender (and yes rosemary is for remembrance is from Hamlet) have very specific meanings. If you're interested, check out the book Floriography: An Illustrated Guide to the Victorian Language of Flowers by Jessica Roux. Bees that make honey from the nectar of lavender flowers is a different thing than people who make lavender-infused honey. Now you know!Infidelity in Romance is tricky, and Sarah's book Day of the Duchess is an example, and there really aren't that many out there. The myth of Cupid & Psyche in literature and art. In Season 4 of The Crown, the scene where Camilla Parker-Bowles takes Diana is based in truth, but the name of the restaurant was not Menage a Trois. Raise a glass to the incomparable Olympia Dukakis.Next up, we're dialing the banana phone with Tangled Lies by Anne Stuart. Join BestFriendKelly's Sticker of the Month Club. If you put Fated Mates in the note, she'll send a free sparkly Fated Mates sticker. If you're already a member, drop her a note and she'll include it with your next sticker.

Episode 6: Dr. Lynn M. Hudson, PhD. joins the show to talk about her upbringing in Pasadena and her excellent book, West of Jim Crow, which explores the ways California tried to control, contain, and restrict African Americans and the incredible courage of those that resisted and fought against this discrimination.For more information and to purchase Professor Hudson's book, West of Jim Crow / The Fight Against California's Color Line, please visit Vroman's (https://bit.ly/3dEAtZa) or Amazon (https://amzn.to/2OmXOWw).Her book The Making of “Mammy Pleasant” / A Black Entrepreneur in Nineteenth-Century San Francisco is also available for purchase through Vroman's (https://bit.ly/39Jt4Xc) or Amazon (https://amzn.to/2PCfXAk)Special Guest: Dr. Lynn M. Hudson, PhD. Hosted on Acast. See acast.com/privacy for more information.

Episode 6: Dr. Lynn M. Hudson, PhD. joins the show to talk about her upbringing in Pasadena and her excellent book West of Jim Crow, which explores the ways California tried to control, contain, and restrict African Americans and the incredible courage of those that resisted and fought against this discrimination. For more information and to purchase Professor Hudson's book, West of Jim Crow / The Fight Against California's Color Line, please visit Vroman's (https://bit.ly/3dEAtZa) or Amazon (https://amzn.to/2OmXOWw). Her book The Making of “Mammy Pleasant” / A Black Entrepreneur in Nineteenth-Century San Francisco is also available for purchase through Vroman's (https://bit.ly/39Jt4Xc) or Amazon (https://amzn.to/2PCfXAk). Special Guest: Dr. Lynn M. Hudson, PhD.

Find full show notes and links at: https://gocamp.pro/day-camp-pod/preschool-program-2021They're the most fun, the most magical, the most squirmy and they're the future of camp. Here's how to rock your preschool camp programming!Pre-Schoolers are the little saplings of day camp. Show them and their families a good time, and you have an annuity that can last a decade. That said, they are completely different on so many levels, compared to elementary and middle schoolers. Today we'll deep dive into the world of the littlest people in our campsTune in to this episode to hear about camp programming, the arts, games, special events, facilitation tricks and MORE - all for the wee ones!Enjoy!Do you have a suggestion for a future show? Let us know by email: daycampquestions@gocamp.pro-If you love the Day Camp Pod, we would be grateful if you subscribed and left us a review. It's SUPER easy, too! Just head to http://ratethispodcast.com/dcp-Day Camp Tip of the WeekAndy: Skip's Rubber Duckie idea: Give every kid a rubber duckie, put them in the shallow part of the pool, and tell the kids to go and get them! It will get them right in the pool!Sam: Perspective training - Line staff up, and every other one kneels down to give the staff the perspective of a pre-schooler looking up with their counsellors. That's why we get down on one knee!Tiff: Taking your current curriculum and make it age-appropriate for every level to make sure everyone feels seen and related to.-YOUR HOSTS:Andy Pritikin, Owner/Director - Liberty Lake Day CampTiffany Gratton-McDuffie, Executive Director - Purposeful PlaySam Thompson, Recreation Supervisor - Crystal Lake Park DistrictDiana Vroman, Elementary Schools Site Director - Crystal Lake Park District-Thanks to our wonderful sponsors who help make this Go Camp Pro podcast possible:Commercial Recreation Specialists (CRS)   https://crs4rec.com/-Please review and subscribe!If you've gotten even one good thing from the Day Camp Pod, we would be so grateful if you left us a review and subscribed to this show in your favourite Podcast app.It's so easy! Just click here: https://ratethispodcast.com/dcp  Thanks, Camp Pro!-Sam's Mega-List of Preschool Programming!Found at https://gocamp.pro/day-camp-pod/preschool-program-2021

Vroman's in Pasadena and Book Soup in West Hollywood are two of Southern California's most iconic bookstores. Though they're in very different communities, each one plays a central role in the life of the city. Which is why, in late September, Vroman's sent a shudder through the world of Southern California's readers when the 126 year old bookstore announced it was at risk of closing due to the effects of the pandemic. In an extraordinary bit of outreach, Vroman's asked its community to shop early and often for the holidays and to recommend the store by word of mouth. The situation has since stabilized, but the risk remains. In the third part of our "Art of Bookselling" series, Air/Light editor David L. Ulin talks to Julia Cowlishaw, the CEO of Vroman's and Book Soup. Cowlishaw and Ulin discuss the issues facing independent booksellers in the world of COVID-19, how she approaches managing two very different bookstores, and more.

"It's not enough to be brilliant. You have to be brilliant at demonstrating your brilliance. And if you are not brilliant at demonstrating your brilliance, you become a best-kept secret. And other people who may talk about their brilliance will overtake you." In this episode, global leadership and innovation expert Val Wright shares insights from her latest book, Rapid Growth, Done Right: Lead, Influence, and Innovate for Success, including thoughts on the innovation trifecta, understanding your influence, and the importance of a well-hydrated network. Rapid Growth, along with her first book, Thoughtfully Ruthless, are available from Amazon, Amazon UK, Barnes & Noble, Porchlight, Waterstones, BAM! Books a Million, and Vroman's bookstore. To learn more about Val, her work, and her writing, visit her website: www.valwrightconsulting.com

Crafts that are both in-person and virtual-camp friendly! Thanks, Sam and Diana!Review us on iTunes!As we truly dig-in to one of the weirdest summers of our time, we wanted to equip you with some crafts and program ideas that will help you run the best program you can, whether it's virtual or in-person.And when it comes to incredible Day Camp Programs, who do we turn to? Sam Thompson of course!Tune in to this mini-pod to hear about some of the best fidget and sensory-friendly crafts that Sam and her co-worker Diana Vroman have found!HERE'S A PDF WITH SOME OF THE CRAFTS - THANKS FOR THIS, SAM!-What do you think of the mini-pod? Please let us know by commenting here and leaving us a review at http://ratethispodcast.com/dcp-YOUR HOSTS:Sam Thompson, Recreation Supervisor - Crystal Lake Park District, Vice president ACA IllinoisDiana Vroman, Elementary Schools Site Director - Crystal Lake Park District-SPONSORS:Thanks to our wonderful sponsors who help make this Go Camp Pro podcast possible:American Camp Association, NY & NJ   http://www.acanynj.org/AM Skier Insurance    http://www.amskier.com/Commercial Recreation Specialists (CRS)   https://crs4rec.com/

Richard Maxwell has created and runs one of the most unique and inspiring creative musical arts and sciences program in the nation. For me, it reminds me of the entry level sound recording program I went through in college, only Richard's students get into the creative process early because of what he had the guts to create. This program happens in an area of the school campus where they have their own section of rooms that is their facility. It's made up of a larger classroom if you will that doubles as a performance room plus they have 15 Pro Tools stations and Pro Tools running in their A and B recording studios. They learn how to be expressive without fear of judgement, they write songs, they mutually assist and critique each others work in a helpful, loving way and it's magical to see what happens on a daily basis. Richard is a loving, caring person who, by his own efforts and fortitude, has created a platform where he can give the students, his very best in regards to guidance, ideas and processes.If you love music, talking about music, the process of making music, what music looks like in today's world, interested in how music could be handled in schools or always wondered how a single person can make a huge change in our education system, these episodes split into Part 1 and Part 2, are for you! Enjoy, share and spread the musical love. Richard Maxwell's Links: Richard's Website: https://sites.google.com/view/richardmaxwell CMAS Program: https://sites.google.com/view/arcadiacmas YouTube: https://www.youtube.com/user/RichardMaxwellMusic/videos Facebook: https://www.facebook.com/richard.maxwell.3538 Instagram: https://www.instagram.com/rchrdmxwll/ Twitter: https://twitter.com/rchrdmxwll LinkedIn: https://www.linkedin.com/in/richard-maxwell-235ab513/ https://youtu.be/KPMuQNW9GL4 ********** Podcast Music By: Andy Galore, Album: "Out and About", Song: "Chicken & Scotch" 2014 Andy's Links: http://andygalore.com/ https://www.facebook.com/andygalorebass/ ********** If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests. For show notes and past guests, please visit: https://joecostelloglobal.com/#thejoecostelloshow Subscribe, Rate & Review: I would love if you could subscribe to the podcast and leave an honest rating & review. This will encourage other people to listen and allow us to grow as a community. The bigger we get as a community, the bigger the impact we can have on the world.For show notes and past guests, please visit: https://joecostelloglobal.com/#thejoecostelloshow Sign up for Joe's email newsletter at: https://joecostelloglobal.com/#signup For transcripts of episodes, go to https://joecostelloglobal.com/#thejoecostelloshow Follow Joe: Twitter: https://twitter.com/jcostelloglobal Instagram: https://www.instagram.com/jcostelloglobal/ Facebook: https://www.facebook.com/jcostelloglobal/ YouTube: https://www.youtube.com/channel/UCUZsrJsf8-1dS6ddAa9Sr1Q?view_as=subscriber Transcript Part 1 – Richard Maxwell Interview: Joe: Hey, Richard, great to have you, man. I'm glad you could come on the show. And as you know, I'm a huge fan and when I reached out, I figured, you know, while we're all in this COVID-19 thing, you aren't quite as busy as you usually are. So I'm glad Richard: Different Joe: I was able to Richard: And Joe: Get you in here. Richard: Different, busy? No, I'm I'm I am as I'm I'm as big of a fan of yours as you are always so kind to me as well. So Joe: I Richard: I think Joe: Appreciate Richard: A Joe: It. Richard: Mutual admiration society. But that's Joe: Awesome. Richard: A Joe: Yeah. Richard: That's a good thing. I'm flattered to be here. Joe: So I know just from my own personal experience with you that you are a multi instrumentalist because I know that you and I have a kinship with drums for sure. Richard: Yes, we do. Joe: But that's pretty much where my talent starts and stops. And then you go on to songwriting and playing guitar. And I'm sure you play the keys. Richard: Yeah, but. Joe: So. Richard: Yeah. But to be fair, your skill you have in, like your little finger in drums eclipses my entire rhythmic independence and abilities beyond belief. Joe: Now that you talk about being too kind, that's too kind. Right. Richard: Well, no. I mean, you are a masterful musician in your own right. Absolutely. Joe: Well, Richard: I am Joe: Thank you. Richard: A jack of all trades, master of none in some ways. But I think that I mean, for what it's worth, the multi instrumentalist thing is partially due to the control freak nature of my personality, I think. I've had time to analyze this over the years and some of that I'd like you know, I'd like to be able to sort of be like, yes, I love playing all these instruments and I do. But some of it is because somewhere along the line, it was hard to find people that I felt like I could say, hey, let's do it this way, you know, and some of that was because I was probably not probably I was really difficult to work with. I think myself. So I started just kind of trying to figure out ways to do it on my own. On the other hand, you do learn a lot when you explore other instruments. So there's a lot of instruments that I will pick up and play badly just for the sort of joy of seeing what it does. What's that? But I like that. I think I think I think musically, there's something about process for me. You know, I'm I'm at an age where, you know, there's a lot of "what ifs" in my life and in my career musically. So now, you know, it's interesting because, like, I think you're, you're in, you're at a point in your thirties where you like all of those things are sort of like, oh, man, if only I had. If only I had. And then, weirdly enough, you get to a point where you're like, wait a minute, I actually now this actually means like artistic freedom. Which has been fascinating for me, and I know we also want to talk about, you know, the program at the school and stuff, but it sort of relates to it like, like you start to realize, like sometimes that's actually more valuable. Like there's a ya know, there obviously we all want to be Springsteen or Taylor Swift or whoever is that, you know, that that A-list group. Of course. I mean, who wouldn't want Joe: Yeah. Richard: That lifestyle and and those opportunities and I think that anybody who says they don't, is probably not being entirely honest. On the other hand, you know, I remember, I've been biking through this COVID stuff as much as I can so I, I have one ear with a couple different podcasts that I listen to and when John Prine died, when and if you know who he was or Joe: Yeah, Richard: Not, is Joe: Absolutely. Richard: Really a brilliant songwriter. So there was this one podcast that was talking about him that had said something that just stuck with me. I was never a huge John Prine fan. I mean, I respected the guy, but they were saying how he looked at his career and at one point, the fact that he never had, like, that top 10 smash hit was a detriment. But then the music critic who, who's pretty, pretty brilliant guy, he goes, yeah, but on the other hand, when you talk to people about his entire catalog, everybody's like, yeah, but everything's brilliant and not having that hit, like, he wasn't identified by a particular sound or of particular time and he could always kind of do what he artistically wanted. I've become more fascinated by, by that than, than anything else. And I talk a lot about that with my students, you know, in their process to like, you know, that thing that you love is wonderful. But what's like, what's the step before and maybe what's the step after? And are you and frankly, are you allowed to even take it? You know, we get very critical of artists and what we see on TV and on, you know, any video and YouTube now and everything else, but sometimes I wonder, you know, man, it's that the pressure to sustain that, whatever that thing is for them. I don't know. I know it sounds weird to maybe people would say, oh, he's just copping out for whatever. I don't know if I'd want it at this point in my life. Joe: Yes Richard: You don't. I mean. Joe: That's funny because I've had the same conversation with myself. I totally in my heart and in my soul and to be truthful to myself, that's all I ever wanted. And then it took me until I don't think it was that long ago that I actually was able to look myself in the mirror and go, you just didn't put in the work. You didn't put in that extra thing to allow yourself to rise above to be noticed. It just, it didn't and I know that, you know, I just I just never went that last whatever it was Richard: Sure. Joe: To get Richard: But then, Joe: It done. Richard: On the other hand, you know that what's the cliche about, you know, one. One door opens and another and one closes and another opens. I mean, you just you know, I've come to realize that. That that. Things happen for a reason like, like, you know, along the lines of what you're talking about. So, like, I never took the risk to, like, go out to, I've been to L.A. enough times that I kind of have a love hate relationship with that city in some respect, I think, like everybody does. And places that nature in terms of the industry. But I never when I was in my early 20s, you know, I didn't do the stereotype I wanted to but the thing of it is, is that I know now, looking back, if I'm like you're saying, being truly honest with yourself, I'm truly honest with myself, I know for a fact that if I had gone out and done that, then, it wouldn't, I would have, I would have destroyed myself, probably like I wasn't going to hit it, like it wasn't going to happen then. It Joe: That's Richard: Just Joe: Interesting. Richard: It just wasn't I wasn't ready. Joe: The. Richard: I wasn't you know, I am a very slow process learner. It takes me a long time. I guess I'm not OK with it, you know? I mean, I'm sitting in this, you know, not to sound funny, but on the other hand, I'm this is everyday for me where I am right now. Like, Joe: Right. Richard: This is you know, I was I was in a position we were able to get a house built. And it's not like it's that fancy. And I'm not going to show you. I could show you what I'm looking at out my window. But like, if you saw like, there's just gear and stuff everywhere, it's a mess in the studio. But the fact that I'm able to sit in a studio every day, I have opportunities where I can make music on my own terms. You know, I'm thinking about everybody I grew up with and stuff like that, that's, that's not so bad. You know, I mean, I'm not like like taking a, like, sort of second place on that either, I mean, you know, I have I have friends, I have students who tour, former students who tour all over the world now. And I'm so proud of them. And it but it's brutal, I mean, it's just I mean, not even I'm not even talking about, like, the COVID stuff. I mean, just that lifestyle in general and trying to maintain that, I mean, it, it I did I did some of that, you know, like one hundred years ago. But, you know, it's I guess, I guess maybe I feel lucky we live in a time where I can feel fulfilled in some ways. Joe: Yeah, yeah, and it's so funny because I just the last guests that I had on it, we actually talked for two and a half hours and I won't do that to you. And it was I'm going to actually blame it on him because he's such a great storyteller. But I had Nate Morton on who is the drummer for The Voice, and him and I have become good friends over the past few years. And, you know, we went through his early childhood then, you know, going to engineering school, of all things, and quitting it because it was he knew it wasn't in his heart. Going to Berklee and then the connection that I'm making here was you talking about L.A., is he said that I knew I had to go where the gigs were of of the caliber that I wanted. I know I could have stayed in Boston, but I wanted to play on a hit TV show or I wanted to tour with the best of the best. And so he said, I just knew that that's the only move that I had with the two things that he he points out the two biggest things, decisions he's ever made in his life, even to this day was, number one, going to Berklee and number two, going to L.A. And without those combination of those two things, you wouldn't be where he is today. Richard: Sure, sure, Which Joe: So, Richard: Totally makes sense. Joe: Yeah. Richard: Which makes sense and for everybody, you know, and you've got to find your place in it. I don't know. Who knows? I mean, we're not that old. You never know. It's, I mean, to me, mean and the industry is different now. And there's, you know. I mean, because I work obviously I work with a lot of teenagers and a lot of 20 somethings and they're all and they're wonderful. But it is interesting how, like, you really can almost you can almost like feel the sort of like flash in the pan kind of vibe of whatever they're, they're currently into. Joe: Yeah. Richard: Which I don't see that as a criticism. I just mean, you know. Sometimes you, you know, I wonder, like, yhere are certain artists or certain bands and, you know, they used to get like, you know, the joke was like the oldies circuit kind of thing. But at the same time, you look at what those musicians are doing and there's something about the fact that they're that they're playing like, like I feel like that state, even with all the technology and I am a technology guy, let's not kid ourselves. Joe: Right. Richard: At the end of the day, it can't be about the technology. And I feel like there's something, you know, like. And I know they have all kinds of ups and downs with personnel and issues of personality. But like journey of all the, you know, sort of like stereotypical cliche kind of bands in a way. But it is interesting to me that decades on, when you see them play they're play like they're actually are playing Joe: All right. Richard: Late. And I think that's the right partially think that that's a big part of the reason I think that people go and see the Rolling Stones play. Because they're playing like like it's not tracks, it's not you don't you know, you don't go into their show going, well, they're going to produce it this way or produce it that way. And I don't think that has so much to do with age. I think that has to do with approach. I've become a big fan of all crazy things. I tell my students I always find this funny. I found myself a few years ago and I couldn't figure out what it was. At first I would I would be in here like in the studio and just kind of like I'd be doing like paperwork or like just whatever, like just I wasn't working on something, but I'd want happened in the background and I would find myself streaming from YouTube, live bluegrass. And I could not for the life of me, I don't like, I'm not like a country guy, I don't, what in the world is happening? You know, that's like my having, like, some sort of, like, long, weird dystopian out of body midlife musical crisis... Richard: I mean, like because I mean, I was, you know, my first musical love was classical and in prog rock. And then I got into rock and anything else. So like bluegrass is is just. We're, we're, we're moving on in a chain that was so bizarre and then I finally figured it out and it was because it was pure, like it's a bunch of guys and girls sitting with acoustic instruments, basically, and they have to play them. The instrument has to respond. You don't get the benefit of, you know, all the other stuff if you don't do it, it doesn't happen. And I have that has become incredibly compelling for me. And now so I've been spending years and I don't know if you want to get into this part of it or not. But I've been spending years trying to figure out a way to marry the two. How can you like my big thing right now is. How do you take like I love loopers, for example? The textures you can create. I really dislike the lack of in the moment control you have, though, with a looper, because once you do a loop, you're basically stuck with it. Joe: Right. Richard: You know, you can stop it. You can start it and sign. But in real time, I want to sit down like, like when you sit down behind a kit, you know, I want the high hat to respond as I'm playing it, not in some prefabricated way that I can no longer alter in any way. So I've been working on trying to figure out a way to play with all of the layers, but have them respond to me like I was sitting down behind the kit and doing it organically or at a piano or on a guitar or just, you know, a kazoo. I don't care what the instrument is but the idea that it responds immediately to me, that's a more interesting use of all of this. So anyway. Joe: What are you doing? Yeah. Not to go too far because we know, but it's interesting now, what are you doing to do that? Richard: So a lot of it has to do with um, figuring out ways to like, look what makes up the layer that you need. Do you know what I mean? So like like a loop for me, when I was like, you know, you there's there's people that are brilliant data. I mean, and that's the other thing, too. You know, you're you know, Ed Sheeran is a brilliant songwriter. He is gifted on so many levels and he's kind of perfected the looping thing. You know, Tash Sultana, I don't know who she is or not. Joe: I don't Richard: You should definitely look her up. She Joe: Work. Richard: Is. Oh, my gosh. She is about the most organic looper I've ever seen in my life to the point where you can tell that something glitched or made a mistake. And it's like she does it, it doesn't stop. She's so in the moment about the music she's making and it's it's just frickin' brilliant. It's unbelievable. But the point is, is that, you know, you start to look at all these textures and you start to see some commonalities. And then funny enough, I, I started looking at, well, what do I really need? Like like when when I when a singer songwriter starts a loop performance, a lot of times, you know, they start with like a drumbeat kind of thing, right? And, you know, they've got their acoustic guitar and they're doing all kinds of stuff. And there's not I mean, it's cool. But then it's like, well, what is that really about? You know? And so I had gotten really heavy into Mumford and Sons, of all things. And I'm watching Marcus Mumford, especially when it's just the four guys. Sorry, four guys [shows fingers]. And, you know, and the and he's doing you know, he's just got that kick drum and he's got that weird little pedal mechanism for the tambourine. But it's essentially he's doing all that momentum off of a kick drum. And because it's so well played organically, you can hear the rest of the drumkit, but you don't actually need it. I know for a fact that you in studio work because, you know, I've talked about this. You have a less is more kind of approach. You know, you don't have to you know, don't get me wrong, we're all fans of Neil Peart. I mean, Joe: Yes. Richard: You know, God rest his soul. The man was a genius on so many levels, but we're not gonna be able to pull that off. Like, I mean, he he could he could fill the space and you didn't go "Well, that was gratuitous." Joe: Yeah. Richard: You know, that's a I mean, you know, he's like he's not the only drummer. I think that could really get away with that consistently. Simon Phillips may be another one. But that's just and that's just just my opinion. But my point being, what I've basically been doing is I'm looking at the layers of what can you actually do and then essentially it's a variation on voice splitting. So if I take a tone and I branch it out and I noodle with it and essentially process it in a certain way, you don't necessarily know what it is that I'm playing from. But then it goes even further, and I promise we won't stay too long on this. But just because this is where my brain goes, Joe: That's right. Richard: Still, I had developed this hole and there's some video and stuff you can I mean, I'll send you some links and stuff of early, like prototypes of what I was doing and it's fun. But it's are real, first, I was a real pain to get a song prepped. Like the irony of the amount of time it would take me to get a song prep so that it could feel natural and organic was just like killing me. Like it, it became so creatively so, so I went back, I've gone back and I've read redressed it. And the crazy thing is, is so I started looking at instead of for the drum kit, I started looking at the relationship between the kick drum and the bass drum. And part of that was because at one point years ago, I had developed this really cool way to simulate what sounded like drums off of an acoustic guitar without having to play it as a loop like it was coming essentially off the strings, believe it or not. And it sounded really cool. And then I would do like some coffeehouse gigs or some, you know, whatever, some small shows and things, theater kind of gigs and stuff. And I realized that people like if they knew what I was doing, they'd be all over it. But just as a listener, it was like, oh yeah, he's got backing tracks. An I'm like, no wait, you've missed the whole point. And then I realize. And then. And then you like and I know, you know, you perform all the time. You can't really blame your audience if they if they don't get what you're doing, that's on you. You know, there's only so far you can go. Oh yeah. They didn't understand like Joe: Right. Richard: I mean, it's just, you Joe: Right. Richard: Know, you can't play that game successfully. I don't think anybody can. So I've gone back now and I've started to look at what really is required for momentum. And can I treat like for some reason, hearing a bass line off of a guitar? We'll make that jump. I'm still trying to figure out how far do I go with the actual percussion sounds and things, but that's also to me, part of it is I'm a big process guy. I come back to that all the time. This, to me is fascinating. I've been playing with this concept since before my oldest son was born. And I'm really, really freakin old. It's been a long time, Joe: No, Richard: But Joe: I Richard: I. Joe: Really friggin old. Richard: Fair enough... Joe: I Richard: Off. Joe: Don't. Richard: Fair enough, now you're not. And it's just a number anyway, Joe: Right. Richard: Even if you were. And even if I was. No. But seriously, you know, to me, it's the process. I think that. That's the fascinating part. I am reminded Mick Jagger has been asked how many times what you know, "How do you write a hit song?" And I love his response in certain in one interview. He's like, "I don't know and as soon as I figure it out, I'm probably done." Joe: Yeah, Richard: Like, I don't want to know Joe: Yeah, it's interesting. Richard: Why it looked like it. It kind of ruins the magic of it. Joe: Right. Richard: I think there's great merit in, you know, I think art in all of its forms. And for me, it's music is its own, kind of like its own living, breathing entity. And you communicate with it. And, you know, if you if it's if you're working with it collaboratively, it's there's some way, you know, these amazing things will happen. And if you piss it off, it's like it takes its toys and goes home and then you're stuck. And I don't know what to do anymore. I mean, that's but that's that's literally my my thing. Which maybe I don't like I said, I can talk for like I went two and a half hours. I can so beat that Joe. I have. Oh my gosh. I love Joe: So Richard: The sound of my own voice. Joe: That Richard: I'm not going do that. I won't do that to you. Joe: No. Richard: But I know what it's like about the program. Joe: Well, no but, but because we talked about a couple of things here, I'm just going to put. Just add my own two cents based on, you know, the whole looping thing for me. I also love and I'm enamored when I watch it done. The problem that I have when it's in a live situation and I deal with it with the people that, you know, my other persona is being the owner of Onstage Entertainment, right? So booking a lot of entertainment in here in both Arizona and Colorado. I, I have to ask some of them that, OK, I don't mind you looping, but you have to get into the song within the first, like, minute to loop the layer, you know, the layers. And there's I don't know, I don't loop I mean, I don't do it. So I don't, I can't tell them what to do and I can't feel their pain. But if you're going to do it, you got to be quick at it and you got to figure out how to get into the song quickly because people whose interest it just. Richard: Well, you're not wrong. I mean, that's the other thing. I mean, you know, mostly, you know, you do the looping thing and it's like the first time, the first song. That's really a two and a half minute song that takes you 12 minutes to perform. And the audience is like, okay, that was cool. Three songs in and I can tell you this from experience. Some of this is because I don't have the gift that certain people do for looping, which is probably why I gave up on looping in some respects, and now but now I mean, like again a door closes. This is so much more creatively interesting for me. But, you know, three or four songs in the audience is always like we've seen this trick before. We know. We know they. They don't know what's gonna happen specifically, but they kind of know where it's headed. And I think some of that's the lack of interaction in all honesty, I think that's why you see some people like, you know, time. But the looping thing I've I. The one thing that fascinates me about Ed Sheeran is genius level songwriter, brilliant performer. Albums sound nothing like the live show albums are basically a band. Then he goes out by himself, which is very fascinating to me, you know, but on the other hand, I kind of respect it because that kind of I absolutely respect it because to me that's using looping in an effective way, using technology in an effective way. But I'm with you. I, I can imagine, you know, that battle. You're right, people don't, but especially, you know, bars and clubs and stuff. There's Joe: Yeah. Richard: Only so they that you can go and. And again, I think one of the things I know I deal with this a lot with my students is, you know, there is a line that you have you have to accept the fact that if you're going to go off on those musical tangents, that may be incredibly invigorating for you personally, you have to be willing to accept the fact that, you know, you may not get all the gigs you want. You know, or you may not get the type of gig that you think you deserve because people are going to you know, if that's you know, if that's not what the listener wants, that's not what the listener wants. And then, then and then that needs to, but that has to be OK, too. I mean, I think, you know, I firmly believe it's kind of like there's two music industries in a way. There's the industry that we see on TV that, you know, is, you know, is is the big influencers and stuff. And the award shows and everything else. And God love him for it. I like I said, I would love to have their problems, but then there's all this other stuff, but isn't going to make it beyond, you know, it's going to play the smaller clubs and it's going to be in in more intimate settings. Richard: But that's OK, you know what I mean? Like, that's OK. And at least now that's when you and I were growing up. You know, we were we were still of the generation where if it did come on the radio, you didn't hear it. You know, or you had to really I mean, I can remember you would spend hours at a record store. Because you couldn't return it. You know, I mean, you really chose carefully, you know, those, those you know that 10 bucks or 20 bucks or whatever it happened to be, you know, before we really got into the whole Napster opens up streaming for us. You know, world. You know, it's a totally different thing in it's interesting talking to my students about that, because some of them... It's that they are still very careful and they'll tell me they're like, my time is valuable to me. And they'll stay, but, but there's still even with them, there's still a sense of acceptable risk. You know, for, whatever, 10 bucks a month or whatever you spend for whatever streaming platform. I mean, that's like, ya know, that's insane to me. Joe: Yeah, Richard: I mean, Joe: Yeah. Richard: That you can get pretty much every recording that exists for 10 bucks a month. Which Joe: Yeah, Richard: Then also Joe: It's. Richard: Begs the begs the question, is it worth being worried about signing the big record deal anyway? Because you're not gonna make any money for it anyway. Maybe just go make what your heart wants you to make artistically. You know, 50 percent of not much. OK, now you are getting that much in the first place. But. Joe: Yeah, yeah, and it's, it's for them, you know, for all of us these days with the streaming part of it, it's like drinking water through a firehose when it comes to the amount of content you can actually take in. Where you? Yeah, and you and I are talking. It's like, yeah. Go to the right. You know, you you mowed for lawns. You have ten bucks to go buy the one album that you've been waiting to get Richard: Exactly. Joe: In. Richard: Exactly, exactly. But Joe: Yeah. Richard: It made it so much more, you know, I cannot remember buying an album and not sitting down and listening to it, track for track, multiple times all the way through. Joe: Reading all the liner notes, Richard: Exactly. Joe: Knowing Richard: Exact. Joe: Everybody who played on it every yeah, Richard: Yep, yep, Joe: Yeah. Richard: Or like I can remember. I can't remember what album it was, but I can remember buying an album, taking it home to listen to and then we like I remember my parents were like, we have we have something to go to in like 20 minutes or something. And I can remember sitting there thinking, ok do I put on listen, like the first two tracks or do I wait till I get homesick and listen to the whole thing? And I waited. You know, because there was something about that experience. And even now I find myself, you know, fast forward and, you know, I mean, it just did it. It's I find myself with some of those bad habits a little bit that I wish I didn't, necessarily...but it is what it is. Joe: Yes. Well, and two other things you touched upon that I know you. You brought it up and it's something that I deal with. But I took a position a long time ago and I started Onstage, that I actually don't hire anyone that runs tracks. And I did it purely for the fact that I didn't want any musicians being put out of work on basically my watch for lack of a better term. Richard: Oh, that's awesome. Joe: So that's just the position I took. And I don't have anything, you know, like there's a like I had a corporate gig. So when I say that, it's really like the local type stuff. So I'm not going to, I'm not going to put a single guy in a resort and put a bass player and drummer out of work because he walks in with bass and drums on tracks and back and backup vocals. And, you know, these other people are sitting home and not working. But the caveat with that is if I there's a corporate band that I hired out of Montreal, Canada, who had amazing tracks that they had built from scratch for themselves. Now, the difference between them is that every single track that they had, there was literally an instrument onstage playing it. So all it was for was for the thickness of the sound. Richard: Sure, sure. Right. Joe: There was literally not one sound on those tracks that did not exist as a human being on the stage. Richard: Right. See, and I think that you're hitting on something to me that's really important, which is intent. Like, I think that gets lost in all of this because we're so we're so caught up in the spectacle. Or the site. You know, I was just at a wedding not too long ago for for one of my nephews and it was interesting because the band, the band was they were good. This is back in Ohio where I grew up, but it was lots of tracks. And it was interesting the way, you know, I'm sitting there picking the thing apart because that's where my head goes. But the rest of my family's just enjoying the sound. You know, almost to the point where, like I've seen deejay's lately, do a thing, oh, sorry, my son's come in and Joe: Hmm Richard: Interrupt Joe: Hmm, hmm, Richard: Here Joe: Hmm, Richard: For a second. Joe: That's Richard: We have Joe: Totally Richard: To Joe: Fine. Richard: Apologize. My apologies, Joe. Joe: No, Richard: That's Joe: It's all Richard: My Joe: Good. Richard: Ex, Gray. He's gone and he's gone in for your drumming job. Joe: All right, perfect. Richard: His no, but I think I'm, you know, like deejay's lately, you see them like they'll travel with a drummer. And I actually think that's a really good thing. You know, it's, it's, it is a little bit in the other direction, because I actually I respect that decision you've made and I actually I did not realize that that's awesome. And I think, I think the world of professional musicians would be better off if more of the owners of these companies, such as yourself, took a stance like you do. But on the other hand, you come from this as a player. So you have a you know, I think some of this is, you know, that battle. You know what that's, you understand on a different level. And nothing against promoters, managers and anybody else out there but a lot of them don't. Is my as a you know, they're well-meaning, but they don't you know, they don't get it. You know. Joe: Yeah, we've talked about this a lot. You know that the success of what happened with my booking agency is the fact that I take the position and I also have the business acumen part of it. So I'm kind of a hybrid in a way where I can understand what I have to deliver to the end client and how professional all of that has to be and at the same time, I have to put my self in the position of the performers or performer, either one. And that, you know, when it's really hot outside, they need shade and if it's too hot, it's just impossible to perform outside in Arizona. And yet, because we live in Arizona and it's the desert, you know what? It gets freaking cold in the wintertime. So, and the fact that other than a singer who then has to worry about catching some sort of cold or bronchitis or something, that all the musicians use their fingers and as soon as your fingers freeze up, the performance goes downhill and everyone's upset and it just doesn't make for a good... So in our contracts, it's very in-depth about, you know, needing shade and needing heaters in the winter and then if it's too hot or too cold, that has to be moved inside. And we, had ad nauseum, I could talk about all Richard: No, Joe: This, Richard: Of course. Joe: You know, circumstances, but that's the approach that I took. Richard: But it's interesting, too, because like as you're as you're describing all of us, I keep coming to the word legacy like like like your own sort of personal legacy and all of this like, you know, and I've known you now for years. So I kind of I feel like I, I. I can say this maybe with a little bit of insight, if you like. I know you to be like you need to be able to sleep at night like you don't like it. But that's important. Like, look, I know that, you know, some of that's just because you couldn't send somebody on a gig that you yourself wouldn't feel comfortable taking, which I think is important, because, again, I think, you know, again, I deal with a lot of younger musicians, you know, a lot of teenagers, lot of 20 somethings with, you know, with the the college stuff folks that I work with, too. And, you know, you do have to kind of be aware, you know, the pay to play thing that goes on a lot. I see a lot of younger musicians that get really excited over gonna get this gig at blah blah, blah, blah plays. That's awesome! Can you buy a ticket? Because we have to sell 200 of them Joe: Yeah, Richard: To get Joe: Yeah. Richard: The opening spot. I'm thinking to myself, I know I get it. I mean, I you know, I understand there are costs and everybody needs to be able to make a living and provide for themselves and their families. And I really do understand that. But it's, there's something off putting about like, like to me, I feel like art's disposable enough, like it's treated almost like a fast food meal sometimes that, that going into that world, I don't know. I just, I just feel like, you know, one of the things I'm always telling kids is, you know. To me and this is this has always been my approach, and if I ever decide that I want to get myself out of this studio environment here where I noodle around, which I might, you know, in my midlife extended crisis of who knows what the heck's going on right now. I actually had plans and then the COVID thing kind of hit. But that's a separate conversation, I suppose. But no, but to think about, you know. We look at gigs, I think, especially younger musicians, they look at gigs in this context of, I have to get the gig for the exposure and the, quote, "fame." But I also equally need the money from the gig, and I think that that's in some ways, the problem. Everybody's got to eat, everybody needs to. I get, I understand that. But I do think that when you can eliminate either one or the other from the equation, you actually give yourself more opportunities. Joe: Yeah, it's. Richard: You know, like if you can, you know, and now I realize I'm in a very unique situation. I could take a gig or not just for the joy of the gig. And then one of the reasons why I started to think about I should really start playing out again just for my own sense of self and to noodle around with this not looping looper thing, to be perfectly honest with you in front of people, was because I realized I don't really care if I make any money doing a gig. Of course, I would love to get some cash, you know, some money in my pocket for for for performing. But at the same time, it's like you priority, you know what what matters? And I think that that's part of it, you know, especially now, you know, because there isn't you know, it's really tough. As you know, being a gigging musician is really brutal and obviously right now it's basically impossible, Joe: All right. Richard: You know, with with the situation we're in. But I do think. Like, it's funny, like I've had a lot of conversations with a lot of my, my students about the fact that I know and just a lot of people in general. There are some you know, this is horrible right now. I mean, it just it is devastating the live music industry, which is like, what, eight billion dollars annually or something at a minimum is just devastated right now. And all of the ripple effect of it is, is just it's gutting. But I do think there is also some good possibly to come out of this. The number of people I talk to, younger people that are so excited at the notion of when I can go see another show, like the appreciation for it. You know, like when you're younger and like you can go to any show you want, anytime you want, basically because you've got all your income is basically disposable and, you know, whatever else or even if it's not but you can you can seriously prioritize it. You know, you not to worry about house and car and bubble on food. And I know some kids do, I'm, I'm speaking generalities, but just in general. Joe: Yeah. Richard: When that's been removed now. It is so interesting, the number of conversations I've had with kids that are like, WOW!, I'm just so appreciative of when I'll be able to do that again. Or, or the realization that that because we would we talk about it all the time and might within my classes, like, OK, you go to that show. I don't care what show it is. That person onstage, even if it's a soloist, isn't the only person involved in you seeing that show. They just aren't. There's no circumstance where it's just them. And you start to really now understand how it all changes, you know? You know, or not changes but how, I mean, it's gone right now, you know, and they're talking about 2021 before major tours happen again, major festivals and things like that. I want to get all the pressing and down on stuff. But but Joe: Oh, Richard: I think. But I mean, it's like you don't already know this. I'm sure you. Joe: I have. I have tickets to see the Doobie Brothers and the Eagles. Yeah. And and that the Eagles, I think, was supposed to happen in April. That's been delayed, I think, until October or December and you know, there's a good chance they're all going to be moved until 2021 to just Richard: Yeah, Joe: Me. Richard: It. Joe: No one's gonna want to go to a concert and sit, you know, six feet apart from the person they went with and sit, you know, have every other row with someone, it's just it would be weird Richard: Well, and Joe: Because. Richard: Not to even some more paranoid, but like I've been reading about different things about like I guess they did a study recently about that choir that had that rehearsal before anybody realized it was a pandemic. But then like 40 out of the 60 people that were in the choir wound up getting tested. They're testing positive. Joe: Oh, wow. Richard: And they you know, I mean, it's a horrible tragedy, I think like two or three of them passed away from it and the whole circumstance was awful and they were going off of all the information they had, which at the time was nothing. And I mean, the whole thing is a terrible tragedy. But out of that, they recreated the circumstances. They obviously didn't infect people again, but they started to look at how singing and things of that nature, what it does to the transmission of a disease, you know, of a virus of this nature and then you think about people that like an event where they're shouting or screaming or singing along and all this other stuff. And you just think to yourself, you know, how is this going to look? Joe: Yeah. Richard: You know what we know? I don't know. It's it's, a it's an interesting. If it wasn't so devastating to the to people that I personally know and just to the industry that I'm aware of and the ripple effects of all of that, it would be just fascinating. But instead, it's just I mean, it's just. Joe: Yes. Richard: It is really. It just makes me really sad and I'm really grateful, like I feel weird sitting in a studio talking to you right now because I feel like almost like I'm, I'm unintentionally flexing and I don't mean to be. It's just, you know. I never thought my life musically would be in a place where I could feel musically secure more than most musicians out there in the world. That is such a bizarre moment of clarity for me. I almost feel obligated to be making more music right now. Not because anybody needs to hear it or that it'll be any good, but almost because I feel like if I don't, I'm being incredibly selfish, that I have the option to do it and I'm not Joe: Right. Richard: Taking advantage of it. Joe: A. Richard: I feel like, you know. You can believe this, but I feel like I would just do like such an ass, like if Joe: Now I get it. Richard: I feel like, I feel like I believe in karma. And I just, I just feel like I have I have an obligation, especially I'm about to head into summer, which changes up my teaching obligations and my, you know, Joe: Yes. Richard: Obligations of that nature. And running the studios are going to be very different for the foreseeable future, at least. Joe: Yes. Richard: Wrote Joe: And it's then Richard: permanent excuse Joe: It's like, no, yeah. No. And I get it. And it's in a lot of our talent is struggling. You know, that that I personally know and had, had helped to get a fair amount of work that they, you know, at times where they don't have work and they're struggling just to put food on the table and pay their car payment, keep a roof over their head. They now are sort of forced into possibly going into debt to buy a webcam and a microphone and and learn, you know, some sort of software if need be, or if they just end up going live on Zoom or Facebook or any of the streaming platforms. But, you know, they're putting in there they're Venmo and PayPal handles as a virtual tip jar just to try to make any sort of money. Richard: Yeah, anything is Joe: And Richard: Anything. Joe: Yeah, Richard: Mm Joe: And Richard: Hmm. Joe: It's it's really tough. So, yeah, I keep brainstorming on ways to try to figure out a way to help. And I haven't come up with it yet. I but I'm working on it. It's not like I'm sitting here, I'm not you know, I'm lucky enough that I had a business where because at one point I was the seven day week musician, you know, I was playing, you remember, and Richard: I do. Joe: That's all I Richard: I Joe: Did Richard: Do. Yeah. Joe: Before. Richard: Yeah. You were impossible to get a hold of because it would always be like a message back, like dude I'll call you later, I'm on, I'm like, you know, 17 gigs today. Joe: Yeah, right. Yeah. But so I get it. Again, we go back to. I've I've lived it and I understand where it's all coming from. Now I just have to figure a way to help and so that's a struggle for me. But that's that's a whole like you said, it's a whole different conversation. And the one last piece that you touched upon that I don't want to forget is that in the conversation I had with Nate Morton, the drummer from The Voice, there's a connector in L.A. that you may or may not have heard of that that I knew when I wanted to, you know, possibly get a tour. A guy named Barry Squire and Barry is basically the music matchmaker out there. So if Cher is looking for a band, Barry will put out the notice that Cher is about to go on tour and they need this, this and this. Same thing with Pink or any of those, Barry was the guy to basically piece these bands together in L.A. for these big tours. Richard: Interesting, Joe: And Richard: I did. Joe: And so now the listing and Barry puts these listings up now on, on Facebook and it's obviously become a lot easier as part of the discussion I had with Nate, where it used to be, hey, you go to this executive's office and you pick up a C.D. or tape, you learn these three songs on it, you come to this studio/soundstage on the Saturday at 1:00, you play the songs and we'll let you know kind of thing. Now, Barry posts these things on Facebook and its he post the requirements. And, you know, everyone has to be pretty much for the most part, 25 or younger, you know, there's there's no none of these things that are going to take all these old dudes like us out on tour. Richard: Right. Joe: Her Richard: Right Joe: Or me Richard: Now, of course. Joe: Anyhow. Richard: No, no, no, no, no, I'm right there with you. I'm Joe: But Richard: With you. Joe: But the instead of it being the old style that you and I are used to, which is, you know, bass, drums, maybe two guitars, keys and a couple of back, backup singers or maybe a horn section. Now it's guitar, drums and a multi instrumentalist that knows Ableton. So it's, it's that and Barry and Nate were talking, they went to lunch a few weeks ago. They'll always be a drummer because the visual part of it, of of that makes it look like it's a band. So that that one seat, you know, thankfully, has not been necessary, eliminated as much as the others. But it's just so weird and Nate and I were talking was like, I mean, I know I, I don't know Ableton anywhere near that I could say I could do it to go get a gig and neither does Nate. But that's the state of things right now. And then, and then Nate's talking and he's like, and if the band becomes, you know, popular and there's more money in the budget, they don't turn around and then start adding bass and guitar and keys that they add more production, they add dancers, they are they whatever. It's just it's so weird to me. Richard: Well, yes, the idea of a show, it's different, you know. That's why, that's why it still comes back to me of this idea of playing. And I think that, I don't know, Like like, do you still sit down to play just for the joy of playing? Joe: I, I do here and there, but nowhere near as much as I should. Richard: Well, nobody ever does that as much as they should. Joe: Yeah. And it's like we Richard: But. Joe: Played a gig last Wednesday and we played out in the parking lot at an assisted living complex for Richard: Oh, Joe: The Richard: Cool. Joe: For the residents because these elderly people had not been out of this place for the last two months or whatever. Richard: Oh, Joe: They're Richard: My Joe: Just Richard: Gosh. Joe: Going stir crazy. Richard: Sure, Joe: So Richard: Sure. Joe: There was four different jazz combos and we were setup out in the parking lot where the people could come out on their balconies and Richard: Oh, Joe: We played to Richard: How Joe: Them. Richard: Cool. Joe: Yeah, it was fun and it was cool. And at the end, like all the guys in the band are like, God, I so misplaying, like I just the hell with practicing, I just want to play because there's that interaction on stage and anticipating where that that other player is going to next and just being able to interact and lock in with somebody. And because I left the gig going I really got to practice. And everybody's like, no, we're just gotta play, we just it's more fun just playing. So, Richard: Yeah, yeah, Joe: Yeah. Richard: And that's I think that I think there's something about that visceral live element. You know, Joe: Yeah. Richard: We it's funny when, when when, when the COVID shut down happened, it sort of sent obviously a lot of chaos into the whole educational system, especially into arts education, which regardless of titles and everything else, I am basically running an arts program. You know, call it what you want, but it's an arts program. And it's been it was interesting what wound up happening very much and that's why I truly thought I'm going to get all these kids that are just going to send me you know, here's this recording I worked on at home, here's this work and I've got a lot of those. I mean, that's. And it's great. But the lot of them, first of all, a lot of them, you know, you started to really see the demographic of the students and who had what available to them. Joe: Yeah, Richard: Lots of posturing and Joe: Yeah. Richard: In high school certainly about that and that's fine. But I don't begrudge because any we've distributed gear as much as possible in that. But it was, you know, was interesting how a lot of them really enjoyed the live streams we did more than anything else. So we wound up doing our big annual end of year concert anyway. But we did it online on Zoom. It was clunky we were subjected to all kinds of elements related to streaming and what mics they had and Wi-Fi connectivity and everything else and yet in the moment, the fact that it wasn't taped, that we, you know, like Joe: Yeah. Richard: I had some kids that played some sessions, that we just kind of watch the sessions on the screen, which was still cool and it was really awesome. I had one group that actually did go in and they pre-recorded their parts and filmed themselves while they did it and then we spliced it together into kind of like a live video and and whatnot. But most of it was a kid with their guitar, at the piano or whatever it happened to be singing. You know, in some cases it was just through their phone and imperfect, absolutely! But, it it had that kind of because you knew it was right then. And there wasn't a well, we're going to go back and fix it in post kind of option. It was interesting that, that, you know, you still got a little bit of that same charge. I mean, it was different because obviously you don't get the you know, you don't hear the applause in the same Joe: Yeah, Richard: Way that you're hopefully Joe: Yeah. Richard: Getting you know, there wasn't really production in terms of lights and stuff that we normally would do. But, you know, because I asked a lot of them, you know, should we be prerecording this and some of them are like, yeah, that would be better for me. But that was because of nervousness that they always have had inherently. You know, these are kids that don't like to get up on stage, even though they're wonderfully talented. They just may be, you know, at that age, they're, they're they get freaked out by it or whatever. But the vast majority wanted it live and in the moment, warts and all. And I found that to be very fascinating. Joe: Yeah, Richard: And Joe: That's cool. Richard: We wound up, you know. We did a tie. I think we did. I think we did like seven or eight live broadcast. We're still doing them. We've done a bunch of podcasts, but it's been interesting watching the students. Their response, and maybe it's not an entirely, like I'd like, I don't think that I can, I always look at my own students and I go, I probably shouldn't be lumping you in with every other teenager is like a generality because they tend to be a little bit of a unique and and if we're being honest, I probably do have a bit of an influence on their approach Joe: Right. Richard: In that regard. Joe: Yeah. Richard: Hopefully a good way. But I do think it's interesting, like what you're saying, that there's something about a live response, even if it's remote, even if it's from streaming, it still beats the just watching video. Joe: Yeah, Richard: There's something. And organic and visceral about it. Joe: Yep. Richard: Which is Joe: All Richard: Important. Joe: Right, well, you know, since we are now, you know, sort of talking about the graduation piece, I wanted to...so I always refer to it as CMAS and I think that's probably what most of you do. But it's Creative Musical Arts and Science program, correct? OK,  So this is happening at Arcadia High School here in, are we, this is considered Phoenix. You're right down the street from me, right? So it's Phoenix. Richard: Yes, well, I'm yeah. Joe: The border is. I don't know. Richard: Yeah, it's Scottsdale Unified School District, but it's technically in greater Phoenix we're like I want to say, what's 48 Street and Indian School and what is it? 56th is the line into Scottsdale. Joe: Ok. Richard: I don't actually know. I mean, I've been at that school for, gosh, 20 plus years, if you can believe that...long time. Joe: Yeah. Richard: I don't know. I was long before my time how they managed to carve out that section of, you know why it's Scottsdale and not in Phoenix Union, I don't know. Joe: All right. OK. So you just mentioned 20 some years ago, so when did you get to this school? Richard: Ok, so let me see. How do I explain this? 1990 or something so I'm at the U Of A Joe: Ok. Richard: I have finished my second master's degree in orchestral conducting, which I still miss, I, you know, if only for not having enough time in the day. Basically, I start working in Tucson at one of the high schools and a middle school, I've got an orchestra program that I love. I am always still for years and years and when I did it, I grew up in the Midwest. So as an undergrad and as a grad student and at different times and in different places, I was always gigging as a very mediocre drummer. I like to say I was, I was sort of the, the, would you want to call it? I brought the game down for everybody else, But um..but, you know, and so I done some touring, nothing, nothing fancy. So but I had done a lot of it, I loved the studio experience and also their stuff. But there was no at the time at least available to me, you only were really able to do that kind of independently and on your own. And there was very much this sense of, you know, we were we were talking before about two different music industries well, there were sort of like two different musical experiences. You had the experience you could have as a student. I mean, you know, you know, it was one thing and there were in it, it was great. I mean, don't get me wrong, I have such fond memories of growing up. And I still every now and then I am lucky enough, I guess. I've talked to my old high school band director a few times, he's long since retired. He drives trains now, of all things Joe: Wow. Richard: Which he just loves. Old, old military, retired guy, sweetheart of a guy, brilliant musician, far more, I didn't realize his musical chops. This is another problem I have like I hadn't like it takes me a while to realize something in the moment. Oh my gosh. The level of lost opportunity on my count two, like not tap into more of his experience as he came out of a military band experience but he had this incredibly open view of what music was for, even if he had a particular love of a certain style and what not. But I'm I've Joe: Wait, Richard: Got this. Joe: Before before you leave, that point is just amazing that you just said that because I look at you and go, God, if I only had a band teacher in high school like you. My teacher, and God rest his soul, I think I'm sure he's gone by now but I was just there doing it, collecting the paycheck, Richard: Sure, Joe: Going through the Richard: Sure. Joe: Motions. Just it was just the worst. And. Richard: And it can't. Yeah, I mean, I. I don't know, I can't speak to that. I mean, the educator in me says, you know, at a certain point you can it's very easy to get disenchanted if you get wrapped up in it and you never know. I mean, you know, the further back you go. People that I get asked all the time, you know, did you have something like CMAS when you were in high school or whatever? And I can't tell if they're sometimes I wonder if they're being sarcastic, if they've completely misjudged my age, if, you know, I don't even know where it's coming from. But, but the truth of the matter is, is that it's not a matter of if I did or not, it wasn't even an option. It just literally wasn't a possibility. I can't, I can't fault Pete Metzker was his name, is his name or Jeff Bieler or Bob Wagner. I literally remember all of these people...West Frickey. They were brilliant! They didn't, if they, if you would come to them and said, we have this idea and you described what I built with the CMAS Program, what I designed, honestly, I think they would have been like, OK, that's really cool! We can't, like we, if we could figure out how to do that in the architecture or the in, the in, the the infrastructure, if you will, of music education at the time, I really think they probably would have been like, OK, sure! Let's do it! I don't think it was an option. I mean, I really think that, you know, there's a prospective element. I'm not that old but it does remind me a little bit of what I have conversations with students about classical music, for example. And I always tell them the same thing. Richard: You know, you can't, you can't fault Beethoven or Mozart and say you don't like their music because there's no electric guitar. Because there wasn't even electricity at the time. You can't you know, you're missing the whole point. You don't think, like that can't be your thing. In the same way when I have students who are very, very much of a more and this is fine too, but we'll say a more traditional mindset. I'm like, you can't look at a kid who wants to do like turntables and say that's not a legitimate musical instrument. You do it, for the same exact reason because you've got to deal with intent, you just you just have to. And that's the thing that like I said, I look back on those that band director and those teachers, all of them throughout all of my school years, as it were. And Dave Vroman, I mean, I could list all these professors throughout, you know, college that some of which I'm still friends with, which is really wonderful too, you know. Sorry, I, I have to I have to namedrop Molly Slaughter, I don't have anyone to know who she is but just for me, I got to say it karma again, and there's lots of others. Greg Sanders, Steve Heineman I'm gonna shut up now, okay...Ed Kaiser God, we would be here for a long time, but, but all of them would tell you...but, but the thing of his you is the best musicians are about intention. You know, Springsteen walks up onstage with the E Street Band and it's unbelievable and then the band takes a break for a minute and he sits down with just as acoustic guitar and it's unbelievable. Joe: Yeah. Richard: And it's I mean, look, the guy's a genius. And I mean, that's you know, you don't need me to say that. But I think the reason it works in both settings is because of his musical intentions. Joe: Yeah. Richard: It comes out different, of course, it comes out differently when you have more people and you can interact. And again, we go back to that visceral thing, but it's about intent. And I think that's what I've carried with me from all of those people. Joe: Right. Richard: I go on in any case, so I go, I go to Bradley University and become their first music educator, excuse music composition and theory graduate ever out of that university. I don't, I don't know if that's like I have two distinctions being a Bradley, one is I'm the first person ever to receive that degree from that institution, which I'm very proud of and two, I was probably the most arrogant pain in the butt student that's ever been through there in the history of that university's music school. And it was a brilliant place, it was wonderful. They had an old Moog synthesizer, that had been installed by Robert Moog himself. Joe: Oh. Richard: But it unfortunately didn't work. If I could go back now...know, you, you know, you always say if you know, if I knew then what I know now. But they allowed you know, they bought some equipment. We had, you know, an old Mac computer and we were able to do some sequencing and learn some bit. And I just kind of got bit by the bug of it. I just found it so compelling and so interesting. Didn't know what I was doing, had a couple of microphones, couldn't even tell you what they were. Probably a 58, like a beat up condenser, by whom...You know, I want to say there was a, I don't know, I want to say it was like an old Rode or an AKG or something, but it was I mean, we you know, we didn't know what we were doing. But freedom to explore the process. I mean, again, in hindsight, I see all of us greatest gift possible. Graduate, don't know what I'm going to do. So the Youngstown's, I don't know if I'm gone too far back Joe: No, Richard: Or Joe: No, Richard: Not in the story. Joe: No, no, no. Richard: So I'm going to I go to university, so Youngstown State University. Partially out of desperation, partially out of you know, I didn't, I was wandering in sort of like the the desert of my own immaturity and unawareness, you know? I just, I just I had this thought in my head that I was gonna be the next Leonard Bernstein. Not realizing that basically even the next Leonard Bernstein wasn't going to be the next Leonard Bernstein because that world doesn't exist. And it wasn't like people were telling me that but it doesn't, I mean, it just doesn't exist. And and I didn't, I wasn't that guy. I mean, that's, you know, kind of like what you were talking about before, which I disagree with your assessment of your skill set but we can have that conversation off of air sometime. But no, but, but in all seriousness, I mean, you know but I wasn't that guy. I mean, that's just that's a reality, I wasn't that guy. But while I'm in Youngstown, Stephen Gage, who's another one of these sort of like ah ha moment people. I'd done a lit..I'd done some conducting. I even put together for my senior recital at Bradley, I put together my own sort of like mini orchestra of friends just for the heck of it. And I seem to remember Vroman, Dave Vroman, who was head of the music department, and that can be one of the main conductors there, I seem to remember him saying, you know, we could have like. Richard: To help you out with this, like you didn't have to, like, do it covertly here. He's a guy I really did not appreciate nearly as much as I should have at the time, brilliant man, just brilliant, wonderful guy. But anyway, he, um, so but so Steve Gage basically goes, you know, I need a, I, I've got an opportunity for graduate student. And he was the band conductor is like, but you'll also work a little bit with the orchestras as well. And you'll get to do you know, you'll get to conduct and I'll teach you how to and he was my first real conducting teacher that I took seriously. I had taken cond

On this episode of The Ellensburg Angler Podcast, Keegan and Kyle sit down to chat with Kylie Vroman. Kylie has spent the last three summers working and guiding at the Togiak River Lodge in Alaska and shares some of her experiences on the podcast. This is an episode you won't want to miss! Show notes to all of our episodes can be found on our website at https://ellensburgangler.com/blog. Tight Lines!

Mark and Tim came into town to pick up a couple of vans to take them up to his conversion shop in Portland, Oregon. Nomadik Customs converts vans for all sorts of customers. We had a great chat with these guys. They definitely know their stuff, and seem to have a great time working at it.

Ep. 31 – Broadway star Lisa Vroman talks about her upcoming performance with the Utah Symphony at the Deer Valley® Music Festival.