Podcasts about Walt Disney Concert Hall

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

In this episode, I share a story about our night out to see Mozart at the Walt Disney Concert Hall. I give my review of our experience. Let the frequencies of Classical music calm your mind, body and soul. Thanks for for listening - B-EZ - Mister Todd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.mistertoddscorner.com/podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.tatt-teeshirts.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Connect with Mister Todd on Instagram at: @mistertoddscorner and @storiesandsolutions

Bandleader and jazz saxophonist Emma Rawicz and the writer and composer Neil Brand join Jeffrey Boakye and Anna Phoebe as they add the next five tracks to the playlist. The journey takes them from Frank Gehry's Walt Disney Concert Hall in Los Angeles, across the English Channel in a rickety aeroplane, then right up to the moon with Les Paul and Mary Ford.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:The Bucket's Got a Hole in it by Kid Ory Those Magnificent Men in their Flying Machines by Ron Goodwin Conversation by Joni Mitchell How High the Moon by Les Paul and Mary Ford Sweet Child O'Mine by Guns N' RosesOther music in this episode:Tamacún by Rodrigo y Gabriela Double Concerto for Two Pianos and Orchestra: Mvt 1 by Philip Glass, performed by Katia & Marielle Labèque My Bucket's Got a Hole In It by Hank Williams Bucket's Got a Hole In It by Louis Armstrong My Bucket's Got a Hole In It by Van Morrison 633 Squadron: Main Title Theme by Ron Goodwin Amassakoul by Tinariwen Some Unholy War by Amy Winehouse Didn't It Rain by Sister Rosetta Tharpe

Episode 462 / Doug Aitken Doug Aitken is an artist whose work explores every medium; from sculpture, film and installations to architectural interventions. His films often explore the modern condition, and his installations create immersive cinematic experiences. Notable artworks include electric earth (1999), sleepwalkers (2007), SONG 1 (2012), Station to Station (2013), Mirage (2017-ongoing), NEW ERA (2018), New Horizon (2019), Flags and Debris (2021), and HOWL (2023). He has collaborated with numerous artists and musicians and his artwork has been exhibited widely. Aitken's latest artwork, Lightscape (2024), was produced by Aitken as a collaboration between the LA Phil and LA Master Chorale and premiered at the Walt Disney Concert Hall in Los Angeles. 

This week Ari sits down with Cody Fry, a multi-instrumentalist, singer, songwriter, and orchestral arranger known for his symphonic arrangements of his own music and other artists' songs. Cody has been nominated for two grammys for arranging: this year for his adaptation of “The Sound of Silence” and previously for “Eleanor Rigby.” An incredible musician all around, Cody has found his niche fronting orchestras in a way that appeals to pop music lovers around the world.Cody has played Walt Disney Concert Hall with the Hollywood Bowl Orchestra, the Kennedy Center, and has hundreds of millions of streams online. In 2021, his song “I Hear a Symphony” (which had already been out for five years) went viral on TikTok and landed Cody a major record deal. In this episode, Cody talks about what it was like working with a major label and the specifics of his record deal. He also tells Ari why he decided to eventually leave the label and go independent once again. https://www.codyfry.com/Chapters00:00 The Artist's Journey: From Aspiration to Independence02:50 Cody Fry: The Orchestral Innovator06:02 Crafting Sound: The Art of Orchestration08:52 Finding Your Unique Sound as an Artist11:58 The Viral Breakthrough: TikTok and Its Impact15:08 Navigating Record Deals: Insights and Experiences18:02 The Transition to Independence: A New Chapter20:52 Performing with Orchestras: A Unique Experience23:55 The Future of Music: Independence and Innovation39:54 Navigating the Music Business Without a Manager42:44 The Importance of Team Members in Music43:14 Non-Traditional Team Members and Their Roles46:07 Managing Sheet Music and Publishing Rights54:35 Exploring Alternative Revenue Streams for Artists01:01:09 Creating Engaging Content for a Niche Audience01:04:02 Future Aspirations and New Music Projects01:08:13 Understanding the Value of Record Deals01:19:37 The Evolving Landscape of the Music BusinessEdited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Sarah LaBrie joins Let's Talk Memoir for a conversation about the year her mom was diagnosed with schizophrenia and the legacy of mental illness in her family, rethinking ambitions in light of tragedy and grief, releasing emotional pressure with writing, when fiction doesn't cut it, finding company for our mental illness stories, knowing why you want to write a memoir, learning to stop punishing ourselves, being a workaholic, processing our stories through writing, and her new memoir No One Gets to Fall Apart.   Also in this episode: -contemplating our parents' backstory -reading as much as you can -ketamine therapy   Books mentioned in this episode: Beautiful Days by Zack Williams Heartberries by Terese Marie Mailhot The Book of Eels by Patrik Svensson Memorial Drive by Natasha Tretheway Braiding Sweetgrass and all books by Robin Wall Kimmerer   Sarah LaBrie is from Houston, TX and is the author of the memoir No One Gets to Fall Apart (HarperCollins, October 2024). She is a TV writer, memoirist, and librettist. Sarah was most recently a producer on the HBO and Starz television show, Minx. She has also written on Blindspotting (Starz), Made for Love (MAX), and Love, Victor (Hulu/Disney). Her libretti have been performed at Walt Disney Concert Hall. Her fiction also appears in Electric Literature's Recommended Reading, Guernica, The Literary Review, and the Los Angeles Review of Books. She has held residencies at Yaddo, UCross and the Virginia Center for the Creative Arts. She holds an MFA from New York University, where she was a Writers in the Schools Fellow. Connect with Sarah: Website: https://www.sarahlabrielivesinlosangeles.com/ Get her book: https://www.harpercollins.com/products/no-one-gets-to-fall-apart-sarah-labrie?variant=41476933419042 IG: @itsmesarahlabrie twitter: @sarah_labrie tiktok: sarahlabrie62 – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd Substack: https://substack.com/@ronitplank Newsletter sign-up: https://ronitplank.com/#signup   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Sarah LaBrie is the author of the debut memoir No One Gets to Fall Apart, available from Harper Books. LaBrie is a writer from Houston, Texas. Her libretti have been performed at Walt Disney Concert Hall and her fiction appears in Guernica, The Literary Review, and the Los Angeles Review of Books. She has held residencies at Yaddo, UCross and the Virginia Center for the Creative Arts. She lives in Los Angeles where she has written for television shows including Minx (Starz), Blindspotting (Starz), Made for Love (MAX), and Love, Victor(Hulu). She holds an MFA from NYU where she was a Writers in the Schools fellow. *** Otherppl with Brad Listi is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah LaBrie was in her early thirties when her mother was found on a highway outside Houston, screaming at passing cars and paranoid that she would be murdered by invisible assailants. She was ultimately diagnosed with schizophrenia—and in an instant, the entirety of LaBrie's childhood came into sharp focus. In her harrowing, clear-sighted, and painfully honest debut memoir, NO ONE GETS TO FALL APART (Publication Date: October 22, 2024; $27.99), LaBrie traces a year spent grappling with the enormity of her mother's diagnosis. With compassion and vulnerability, she reflects on the consequences of being raised by someone with mental illness, processes her own obsessive behavior and unhealthy ambition, and examines her fear of inheriting the disorder or passing it along to her own future children.   In childhood, LaBrie's relationship with her mother is marked at turns by violence and all-consuming closeness. She's erratic, easily angered and cruel, but also loving and protective, committed to LaBrie's education and artistry and to making huge sacrifices as a single mom so her daughter could lead a stable life. Digging into the events that led to her psychotic break, LaBrie traces the line from the dysphoria that plagued her great-grandmother, a granddaughter of slaves, to her own experience with depression as a scholarship student at Brown. At the same time, she navigates a decades-long fixation on a novel she can't finish but can't abandon, her complicated feelings about her white partner, and a fraught friendship colored by betrayal. Spanning the globe from Houston's Third Ward to Paris to New York to Los Angeles, and touching on work by James Baldwin, Franz Kafka and Walter Benjamin, NO ONE GETS TO FALL APART is an unflinching chronicle of one woman's attempt to forge a new future by making sense of history.     A writer from Houston, Sarah LaBrie's libretti have been performed at Walt Disney Concert Hall, and her fiction appears in Guernica, The Literary Review, and the Los Angeles Review of Books. She now lives in Los Angeles where she has written for television shows including Minx, Blindspotting, Made for Love, and Love, Victor. “In 2017, I learned from my grandmother that my mother had been experiencing schizophrenic delusions for months,” she explains. “We were estranged and no one told me, because no one thought it was a big deal. That same year, my best friend shared private information with the world that I wasn't ready to reveal, then ‘broke up with me' when I found myself unable to talk about it with her. I was working a job I hated while my friends all seemed to be coming into their own, and my partner, the son of prominent psychology professors from Boston, had grown up with a life so different from mine I didn't think he would ever understand. I started writing the book out of loneliness. I wanted to reconstruct all these broken parts into layers as opposed to puzzle pieces. I wanted to convey that there are many different ways to understand the past and how it makes us who we are.”  

In this week's Mom Stomp episode (S4, Ep7), Annie and Jo talk about Jo's experience attending “El Dorado Ballroom - Glory to Glory” at the Walt Disney Concert Hall - a night curated by Solange Knowles for Saint Heron. Also, we got some Rihanna links from first name/last name (FNLN) MJ Price and a VM from FNLN Tim Paul, who gives us permission to turn his life into a true crime podcast if he goes missing in Europe. Best wishes to our friend in Europe but, lord, could you imagine our podcast with actual direction!?

In the eyes of the architecture critic Paul Goldberger, a building is a living, breathing thing, a structure that can have a spirit and even, at its best, a soul. It's this optimistic perspective that has given Goldberger's writing a certain ineffable, captivating quality across his prolific career—first at The New York Times, where he served as the paper's longtime architecture critic, winning a Pulitzer Prize in 1984; then as the architecture critic at The New Yorker from 1997 to 2011; and now, as a contributing editor at Vanity Fair. Goldberger is the author of several books, including Building Art: The Life and Work of Frank Gehry (2015), Why Architecture Matters (2009), and Building Up and Tearing Down: Reflections on the Age of Architecture (2009). He is also the chair of the advisory board of the Glass House in New Canaan, Connecticut, where we recorded this episode, our third “site-specific” interview on Time Sensitive.On the episode, Goldberger discusses the Glass House's staying power as it turns 75, the evolution of architecture over the past century, what he's learned from writing architects' obituaries, and the Oreo cookie from a design perspective.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Paul Goldberger[05:17] Glass House[05:17] Philip Johnson[07:06] Ludwig Mies van der Rohe[07:06] Farnsworth House[08:42] Brick House[12:37] Gordon Bunshaft[12:37] Lever House[12:37] Frank Lloyd Wright[12:37] Guggenheim Museum[13:18] TWA Flight Center[13:18] Kevin Roche[13:18] Ford Foundation building[13:18] CBS Building[15:17] Noyes House[16:17] U.N. Headquarters[17:50] Centre Pompidou[17:50] I.M. Pei[17:50] Louvre Pyramid[17:50] Frank Gehry[17:50] Guggenheim Bilbao[20:00] Walt Disney Concert Hall[23:20] Stuyvesant Town[24:24] “Oreo, at 75, the World's Favorite Cookie; Machine Imagery, Homey Decoration”[25:46] “Quick! Before It Crumbles!: An architecture critic looks at cookie architecture”[25:46] Nora Ephron[26:18] “Design Notebook; Commonplace Things Can Be Great Designs”[27:16] Bauhaus[29:10] Fallingwater[29:10] Richard Neutra[29:10] Lovell House[29:10] Gehry House[29:10] Louis Kahn[32:38] “Philip Johnson, Architecture's Restless Intellect, Dies at 98”[32:38] “Louis I. Kahn Dies; Architect Was 73”[35:30] Paul Rudolph[36:50] Zaha Hadid[37:22] “New Police Building”[38:19] Henry Geldzahler[41:31] Why Architecture Matters[43:21] Chrysler Building[47:28] Vincent Scully[48:18] Lewis Mumford[1:00:47] The City Observed: A Guide to the Architecture of Manhattan[1:00:47] World Trade Center[1:02:49] “Here Is New York” by E.B. White[1:05:33] Design: The Leading Hotels of the World[1:07:25] Ritz Paris[1:07:25] The Dylan Amsterdam[1:09:01] “Why Buildings Grow On Us”

Star Wars in Concert toured the world between 2009 and 2011 - presented by our golden host Anthony Daniels - and today on a very special episode of Making Tracks we catch up with Anthony to discuss the long-awaited return of Star Wars in Concert to the Walt Disney Concert Hall in Los Angeles on 21st to 24th November. We delve into the past of SWIC and Anthony's excitement for the upcoming four-day engagement on a very special episode of Making Tracks. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. You can contact any of our shows and send in your listeners questions by emailing radio@fanthatracks.com or comment on our social media feeds: https://www.youtube.com/@FanthaTracksTV/ https://links.fanthatracks.com/ https://link.chtbl.com/fanthatracksradio www.instagram.com/fanthatracks www.facebook.com/FanthaTracks www.twitter.com/FanthaTracks www.pinterest.co.uk/fanthatracks/ www.fanthatracks.tumblr.com/ www.tiktok.com/@fanthatracks www.twitch.tv/fanthatracks www.threads.net/@FanthaTracks

Kimberly began her career in the entertainment industry as a Freelance Stage Manager working with regional theatres throughout Los Angeles and Orange County. She received her Bachelor's Degree in Technical Production and Design from California State University, Fullerton. Kimberly has served as the Resident Stage Manager for the Tony award winning Deaf West Theatre, Production Stage Manager for Disney Live Entertainment, Manager of Production Operations for Princess Cruises and currently serves as the Associate Director of Production for the Los Angeles Philharmonic, overseeing venues such as the Hollywood Bowl, Walt Disney Concert Hall as well as traveling with the organization on tours throughout the world.    @stagelync Thank you to our sponsor @clear-com The StageLync Podcast is a branch of our larger StageLync Community. Come visit us at www.stagelync.com

Kimberly began her career in the entertainment industry as a Freelance Stage Manager working with regional theatres throughout Los Angeles and Orange County. She received her Bachelor's Degree in Technical Production and Design from California State University, Fullerton. Kimberly has served as the Resident Stage Manager for the Tony award winning Deaf West Theatre, Production Stage Manager for Disney Live Entertainment, Manager of Production Operations for Princess Cruises and currently serves as the Associate Director of Production for the Los Angeles Philharmonic, overseeing venues such as the Hollywood Bowl, Walt Disney Concert Hall as well as traveling with the organization on tours throughout the world.    “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @stagelync Thank you to our sponsor @clear-com The StageLync Podcast is a branch of our larger StageLync Community. Come visit us at www.stagelync.com

This episode of The Other Side of the Bell, featuring trumpeter, Imani Duhe', is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Imani: Imani Duhe' is a versatile young musician from Atlanta, Georgia, known for her rich, soulful trumpet playing. Starting music at a young age, she's been surrounded by different styles of music her entire life. Imani has performed regularly with orchestras, chamber ensembles, and in small solo settings as a trumpeter for over 12 years. Through her love for the trumpet and music she also discovered a talent for composing songs, which she performs with her ensembles. Imani has performed on podcasts, in multiple large music venues including the Hollywood Bowl, Carnegie Hall, and The Walt Disney Concert Hall. She has had the opportunity to play for live televised events and popular music festivals and continues to make her name known as a sought-after musician. She has worked with artists such as Ms. Lauryn Hill, Ani Difranco, Daniel Pemberton, Metro Boomin, T-Pain, and more. Imani also teaches for the Youth Orchestra of Los Angeles as a trumpet instructor and brass specialist and gives master classes around the greater Los Angeles area. Ms. Duhe received her Bachelors from Manhattan School of Music and her Masters at the University of Southern California.

Refik Anadol, and by extension Refik Anadol Studio, is one of the most visible, if not the most visible, artists working with large models today. His work is everywhere, from MoMa to the Biennale Venezia, from the very first Las Vegas Exosphere art display to the front of Walt Disney Concert Hall. We're delighted to have had him on the pod to talk through his artistic philosophy, touching specifically on media, light, AI, and his new incredibly large-scope Nature Model project announced back in January (approximately the same time we had our conversation with him — yes, the backlog is real).We're also accompanied in the virtual studio with Pelin Kivrak, who writes as apart of Refik Anadol Studio.

On this week's Talkhouse Podcast we've got a very cool episode that was inspired by a very cool performance coming up in Los Angeles soon. It's David Longstreth in conversation with Phil Elverum. Longstreth is the focal point of the band Dirty Projectors, which formed about 20 years ago in Brooklyn, and was part of a scene that kind of elevated indie-pop into something more serious and timeless. It's been clear throughout the years that Longstreth is a musical searcher, having never been content to repeat himself. That's led to an incredibly varied catalog that can even border on pleasantly confusing, and the huge undertaking that he's in the midst of—and the starting point of this conversation—is no exception. About 10 years ago, Longstreth began working on what I'd guess you'd call a contemporary classical song cycle called Song of the Earth, which he performed with the ensemble stargaze a few years back. He's since been refining and reworking the piece, and along with Dirty Projectors and the world-renowned L.A. Philharmonic, he'll perform it on March 2 at the Walt Disney Concert Hall. That's a huge group of people and a massive undertaking—and not to be missed. At almost the opposite end of the spectrum will be that evening's opening act, Mount Eerie, aka renowned minimalist songwriter Phil Elverum. Elverum is almost a mythical figure in indie-rock, having forged a truly unique path over the past decade, first under the name The Microphones and later Mount Eerie. His music is often deeply personal, and he'll move from simply structured indie-folk into fully immersive lo-fi drones in ways that can confound and disarm. His catalog is wide and deep, though if you're unfamiliar with his music, a good place to start is 2001's The Glow Pt. 2. At this concert, he'll not only open the show for Dirty Projectors but he'll also—as you'll hear—participate a little bit, because Longstreth tapped Elverum to help out on a Song of The Earth piece called “Twin Aspens.” They were nice enough to give us a preview of the piece here, so check out a little bit of a not-quite-final version of “Twin Aspens,” composed by Longstreth and with some help from Elverum. As you'll hear in this conversation, these guys are deeply immersed in music, and certainly not just pop music. From hearing them chat I learned about Japanese Gagaku music, among other things. They also talk at length about Elverum's incredible album-length song “Microphones in 2020,” which is essentially a history of his own evolution, with a fascinating visual to go along with it. They also talk a lot about starting the creative process with a palette in mind, which I found fascinating as well. Enjoy the chat, and if you're in the L.A. area, I think there are a few tickets left for this once-in-a-lifetime performance on March 2. Enjoy.  Thanks for listening to the Talkhouse Podcast and thanks to David Longstreth and Phil Elverum for talking. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by the Range. Annie Fell has my eternal thanks for stepping in to record it at the last minute, too. See you next time!

Today on What's My Frame I'm joined by Casting Director, Michael Donovan. Michael has cast over one thousand theatre productions, including shows produced at the Ahmanson Theatre, the Hollywood Bowl, Pasadena Playhouse, Mark Taper Forum, Kirk Douglas Theatre, Walt Disney Concert Hall, Geffen Playhouse, International City Theatre, La Jolla Playhouse, Getty Villa, Ricardo Montalban Theatre, Garry Marshall Theatre, Colony Theatre, Theatre @ Boston Court, 24th St. Theatre, The Soraya, San Francisco Symphony, Arizona Theatre Company, both the Palazzo Theatre and the Paris Theatre in Las Vegas, Arkansas Rep, Kentucky Shakespeare Festival, Indiana Rep, as well as several national tours. Michael is the recipient of nine Artios Awards. Beyond his prolific career in theatre; he's cast over a thousand commercials. He teaches at Pepperdine and USC, is President of the Foundation for New American Musicals, and serves on the Board of Directors for Camp Bravo.  He somehow still finds time to give back teaching at the SAG-AFTRA Foundation and to join us for this very special episode. Now let's get to the conversation! Join Michael on Instagram Michael Donovan Casting --- Hosted by Laura Linda Bradley Join the WMF creative community now! Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site ⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our monthly newsletter!⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  --- Support this podcast: https://podcasters.spotify.com/pod/show/whats-my-frame/support

Exploring Vocal Fry, Insights from Christopher Lee, and Anniversary Celebrations Join Bradley and Justin on this episode of The Gen X Reverb Podcast as they dive into the intriguing topic of vocal fry, breifly discuss insights from acclaimed actor Christopher Lee, and share heartwarming moments from Bradley's anniversary celebration at the Walt Disney Concert Hall. Plus, discover retro T-shirts with a modern flare on genxreverb.com! Sponsor: This episode is brought to you by genxreverb.com. Explore our collection of retro T-shirts and add a touch of nostalgia to your wardrobe today! --- Send in a voice message: https://podcasters.spotify.com/pod/show/genxreverb/message

Composer & Conductor David Newman talks conducting classic film music live and the program curated by John Williams for the LA Phil concert at the Walt Disney Concert Hall on February 2-4. Featuring Writer and Journalist Tim Greiving Hosted by Maurizio Caschetto and Tim Burden Film music is now a staple of the concert hall experience, with countless performances across the world by orchestras and ensembles of all kind, from local community symphonies to major historical institutions. Music from the movies is performed on the same stage where only the established canon of classical repertoire was once allowed, bringing a new audience to the concert hall and reinvigorating the live experience with innovative formats like the live-to-picture concerts. If this is now an accepted reality of the classical music landscape, a huge part is owed to John Williams and his 45-year activity as a champion of conducting film music in concert halls. On February 2, 3 and 4 at the Walt Disney Concert Hall, David Newman is conducting the Los Angeles Philharmonic in a program called A Century Of Film Music. The concert is part of a series curated by John Williams and it features an exciting selection offering a journey through several decades of great film music with pieces by some of the finest composers who ever wrote for the movies. This is the starting point of this new Legacy Conversation podcast episode, a lively discussion with David Newman about the challenges and the opportunities of performing film music in the concert hall, while also reflecting on how crucial John Williams has been in making film music more widely accepted and recognized. Joining the discussion is writer and journalist Tim Greiving, who has followed the film music industry closely for almost 20 years and witnessed the transformation of how music from the movies is perceived by the audience.   Read more: https://thelegacyofjohnwilliams.com/2024/02/02/legacy-conversations-a-century-of-film-music Listen to "A Century Of Film Music" playlist: https://open.spotify.com/playlist/1blGRnjBOFUA4xfGZiX08O

Ever wondered about the signs and synchronicities that guide us through life?In this episode, I had the privilege of interviewing Jean Carlo Tavarez. He shares his fascinating experiences with intuition, manifestation, and connecting with others on a deeper level. We delve into the coincidences along his personal journey, from his move from Florida to California, to his path of adopting children and performing at some of the most important stages in Los Angeles. Stay tuned as Jean Carlo shares a powerful message of following your intuition. Key topics from this episode include:Jean Carlo's ability to read energy and thought formsHow Jean Carlo manifested a new home and even a replacement for a broken water heater. Jean Carlo's story of manifesting his dream performance opportunities while also being homeless. How Jean Carlo followed his gut instincts, paid attention to signs, and found unexpected help along the way.Emphasizing the importance of listening to our inner guidance, which can come in various forms such as thoughts, feelings, or signs in the external world.I hope this episode sparks your curiosity and entices you to listen. Remember, life is full of coincidences, and sometimes, they lead us to the most unexpected places.I really hope to connect with you personally, so please send me a message or join me in my Facebook group. In the meantime, enjoy the show! About Jean Carlo Tavarez:Jean Carlo Tavarez has possessed a unique sensitivity to energies, thought forms, and various dimensions since childhood, perceiving past, present, and future potentials, as well as sensing people's and animals' pains and illnesses. His innate abilities extended to communicating with past loved ones and foreseeing events like impending passings among neighbors and loved ones. Alongside these extraordinary gifts, Jean Carlo has contributed his talents to the vibrant music scene in California. As a member of the Gay Men's Chorus of Los Angeles, he graced prestigious stages such as the Alex Theater and the iconic Walt Disney Concert Hall. Notably, he captivated a crowd of 15,000 at The Kia Forum in 2018, opening for Mexican superstar Gloria Trevi.Connect with Jean Carlo Tavarez:LinktreeConnect with Rev. Karen Cleveland:WebsiteFacebookInstagramResources mentioned in this episode:5 Ways to Make Your Wildlife Adventure More Meaningful

In this new episode of Diary of an Actress we chat with Ron Valentine! Ron Valentine was born in the business with a father in the business, followed with 3 uncles, 4 cousins, an award-winning aunt, a brother and son in as well. Burroughs High Graduate Mastered in Props and lighting with a pinch of carpentry. Worked on shows such as Saved by the Bell, Tonight Show with both Johnny Carson and Jay Leno. Fresh Prince of Bel Air, California Dreams, Smothers Brothers Comedy hour, Hang Time, You Again, The Bennett Brothers, soap operas Days of Our Lives, Sunset Beach, Santa Barbara, General Hospital, Built the 1984 closing Ceremonies for the Olympics, Many specials such as Bob Hope Special, Roast to President Regan, David Copperfield Special, Doug Henning Magic Special, Tennessee Ernie Ford Birthday celebration, Rock n' New Years eve, Eye Witness Videos, Hot Country Nights. Worked as Assistant video with the Hollywood Bowl for 5 seasons, Assistant Carpenter for the Walt Disney Concert Hall when they opened, Prop Dept. on the Grammys and carpenter Dept stage left for the Academy awards. Also worked Kids Choice Slime Award. Currently for the past 6 years he has served as the Business Representative of IATSE representing Local No.33 with my business partner Robert Pagnotta. Their responsibilities are to negotiate contracts, uphold conditions in the contracts, seek new jurisdiction, listen to members issues, resolve issues, represent those who do something to offend the Employers, try to hold on to their positions. Meet with political figures to seek support, create safe working conditions for our members with the State of California and City of Los Angeles. Watch the Podcast on YouTube | Read the DiariesHost, Author of Diary of an Actress,. Executive Producer: Rachel BailitEditor, Producer : Max BugrovYouTube: @diaryofanactresspodcastInstagram: diaryofanactresspodcastTikTok: @diaryofanactresspodcastFacebook: diaryofanactress

Los Angeles, the city in which Sergei Rachmaninoff (1873-1943) spent the last few months of his life, played host to an exceptional festival of music last February. As part of this year's Rachmaninoff 150 celebrations, Yuja Wang joined the Los Angeles Philharmonic and its Music and Artistic Director Gustavo Dudamel over two consecutive weekends to perform all four of the composer's piano concertos and the Rhapsody on a Theme of Paganini. Deutsche Grammophon were there to capture their sold-out and critically acclaimed performances live at Walt Disney Concert Hall. Rachmaninoff: The Piano Concertos and Paganini Rhapsody is now set for release on 2 CDs, 3 LPs, and digitally on 1 September 2023. The Allegro vivace finale of Piano Concerto No. 1 comes out as an e-single and e-video on 23 June; the filmed cycle of five performances will be premiered on STAGE+ on 24 June and will also be available on the LA Phil's online concert series SOUND/STAGE later in September. Track Listing:1 Piano Concerto No. 2 in C minor op. 18 – 1. Moderato2 2. Adagio sostenuto3 3. Allegro scherzando 4 Piano Concerto No. 1 in F sharp minor op. 1 – 1. Vivace – Moderato5 2. Andante6 3. Allegro vivace 7 Piano Concerto No. 4 in G minor op. 40 – 1. Allegro vivace8 2. Largo9 3. Allegro vivace 10 Rhapsody on a Theme of Paganini op. 43 – Introduction – Variation I11 Tema12 Variation II13 Variation III14 Variation IV15 Variation V16 Variation VI17 Variation VII18 Variation VIII19 Variation IX20 Variation X21 Variation XI22 Variation XII23 Variation XIII24 Variation XiV25 Variation XV26 Variation XVI27 Variation XVII28 Variation XVIII29 Variation XiX30 Variation XX31 Variation XXI32 Variation XXII33 Variation XXIII34 Variation XXIV 35 Piano Concerto No. 3 in D minor op. 30 – 1. Allegro ma non tanto36 2. Intermezzo. Adagio37 3. Finale. Alla breveHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Disney fans rejoice! Today's show is all about the Walt Disney Concert Hall in Los Angeles, California. This stainless steel structure has been part of the Downtown L.A. skyline for almost twenty years now. It's an unmistakable building that exists due to a generous gift by Lillian Disney in honor of her husband, Walt. But Walt Disney's ties to the Music Center in Los Angeles began long before there was a concert hall named after him. Hear all about Walt's history with the Music Center as well as how other Disney family members got involved in the Walt Disney Concert Hall. Howard Sherman, the Music Center's Executive Vice President and Chief Operating Officer, visits the podcast to share insight about the design of the building, the gardens surrounding it, and the acoustically perfect concert hall. That and so much more in this episode. Find links and info related to this episode in the show notes. ------ GIVEAWAYS, BONUSES, SUPPORT, AND SAVE: Gain early access to episodes, take part in Ask Me Anything live streams, and gain more bonuses by joining on Patreon. Support the show at no additional cost to you. Get yourself a FREE audiobook on Audible, and do your regular shopping on Amazon and shopDisney using my special links. Save money at Whosits & Whatsits using discount code "DCTC." Get FREE DISNEY GIFTS from DCTC. ------ BE SOCIAL: Follow @DizneyCTC and @JeffDePaoli on Instagram. ------ CONNECT: Write me at Contact@DePodcastNetwork.com Leave a voicemail at 818-860-2569 Visit the show at DizneyCoastToCoast.com Sign up for the DCTC Newsletter ------ "Dizney Coast to Coast" is part of the DePodcast Network. Love the show? Leave a tip.

There are architects and then there are starchitects–the rock stars of the architecture world. They are architects whose ambitious vision and unyeilding determination drove them to rise above the rest to become that of legend. They're innovative, inspiring, brash and sometimes notorious. While their designs and personalities are some times controversial, you can't deny their impact in redefining architecture. From All Things Architecture, join Steve Park for a podcast series that explores the personal struggles and the triumphant of the world's most incredible architects. The special four-part series begins October 23, 2023 exploring the incredible story of Frank Gehry's struggle to get the Walt Disney Concert Hall built.

Michael Donovan is the recipient of 9 Artios awards. He has cast more than 1,000 shows produced at such venues as the Ahmanson Theatre, the Mark Taper Forum, the Hollywood Bowl, Pasadena Playhouse, the Kirk Douglas Theatre, Walt Disney Concert Hall, Laguna Playhouse, and International City Theatre. He has cast national tours, numerous films, TV series and commercials. Michael is the President of the Board for the Foundation for New American Musicals, teaches at both Pepperdine and USC, and serves on the board for Camp Bravo. ▬▬▬▬▬▬▬▬ MICHAEL DONOVAN ⌲ IMDb: https://www.imdb.com/name/nm0233036/ ⌲ IG: https://www.instagram.com/michaeldonovancasting/?hl=en ⌲ Website: https://michaeldonovancasting.com/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #Musicals #LosAngelesTheatre #NYCTheatre #Broadway #MarkTaperForum #PasadenaPlayhouse #AhmansonTheatre #TheatreCasting #TheatreCastingDirector #SelfTapes #RichieFerris #MichaelDonovanCasting #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support

Laura does today's WYNTK – Architecture Digest named its 11 Most Beautiful Theaters in the World, and The Walt Disney Concert Hall got a big shoutout being #1 on the list. Kappy mandates everyone to watch Quarterback on Netflix. We bump back with Oscar De La Hoya's slow jam. Then, the Rams tried to trade Stafford over the offseason, and when they tried restructuring his contract, he declined. The guys swipe left or right in Radio Tinder. Kap and Morales are plowing through Tuna at Black Gold. Then some baseball talk, as the Dodgers fell to the Orioles earlier today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In what might be our most chaotic episode yet, Shelby and Andrew find a random list of travel questions off of the internet and answer some of them! (55:30) But we get random with it, using dice to pick out which questions we will answer and to implement a drinking game, of course. Before all of that, we talk about some song lyrics, discuss Severance and recap a visit of the Walt Disney Concert Hall! You can follow us on Instagram at Tripittome or email us at tripittome@gmail.com! Please follow and rate the show, let your friends know. We appreciate you listening!

Alena received her Bachelor of Music in Music Education from Michigan State University in 2011 as well as a certification in Music Learning Theory at the Early Childhood Level from University of South Carolina. Alena began working as the Music Director at the renowned Los Angeles Elementary and Early Childhood educational institution: Hollywood Schoolhouse in 2011. In June 2019 Alena premiered her critically acclaimed and highly reviewed “Swiped The Musical,” an inspiring musical romantic comedy about online dating, which premiered June 21st at The Hudson Theatre in Hollywood for the 2019 Hollywood Fringe Festival. Swiped The Musical received the Fringe's Encore's extension award for the success of its initial run.Alena co-founded Unicorn Music Academy in January 2020 to open up the young people's hearts and minds to the music around them and give them the tools they ned to organize their ideas and create freely. Most recently Alena has been writing, recording and producing with artists at Homegrown Recording Collective. In November 2021 Alena and her writing partners Catriona Fray and Danny Pravder traveled to New York City to produce a new work titled “Divine Feminine Soul” at The Duplex. CATRIONA FRAY is an artist, teacher, and one of the co-creators and producers of Homegrown Recording & Collective. Her music transcends the spirit into an earthy, soulful Gospel/Worship/R&B/Pop experience. Her first single “Do I Believe In Love” was released in August 2021, recorded at Homegrown Recording, and is available on Spotify, Apple Music, YouTube! Her NEW single “No Fear In Love” is now released on all platforms as well! ​ She is a graduate of UCLA's School of Theater, Film, and Television, where was she was a featured soprano in the UCLA ScatterTones a cappella group, traveled around the country singing at the White House, opened for Grammy Award winning Pentatonix, and filmed with recording artist Jojo in a national commercial for Freeform. ​ She has worked on two Kathleen Marshall (three-time Tony Award director/choreographer) productions Mamma Mia at the Hollywood Bowl and Sweet Charity as Rosie. Her favorite leading roles include the Witch in Into the Woods, Audrey in Little Shop of Horrors, and Lucy in Jekyll and Hyde. NYC Off-Broadway concert credits include, Swing 46, Town Hall, Feinstein's/54 Below, (Le) Poisson Rouge, and The Duplex, where she produced, created, and starred in her own cabaret The Melody Plays On: No One is Alone to help raise awareness and donations for the local domestic violence awareness non-profit "Never Alone Again,” and more recently debuted a piece of original material “Divine Feminine Soul”. During the pandemic, she directed/choreographed/music directed a musical revue for a children's theater (socially distanced and masked), taught musical theater classes, and founded Catriona Fray Studios for the Performing Artist. She teaches piano, guitar, voice, acting, dance, musical theater script writing/songwriting, and yoga to students of all ages! Manoela is a native of Rio de Janeiro, violinist and multi-instrumentalist who has established herself in LA as an exceptionally versatile artist. Classically trained, she has a strong passion for improvisation in jazz, blues, and rock genres and is an active composer and arranger. Notable live performances and recordings include Janelle Monáe, David Foster, Katharine McPhee, Kygo, Renée Fleming, The Tenors, Common, Deltron 3030, Amanda Palmer, Amanda Palmer & The Grand Theft Orchestra, Frank Ocean, Marco Antonio Solís, Gloria Trevi, and a Quincy Jones benefit with Lang Lang. In addition, Manoela has been featured in films, TV shows and commercials, and regularly plays as a solo guest violinist with local acts. Her music has been heard in the most prominent halls across the country, including Hollywood Bowl, The Forum, Greek Theatre, and Walt Disney Concert Hall. Website: https://www.homegrownrecording.com/

Georgia Pritchett says the joy of writing “Succession” is seeing the characters develop, often in disturbing ways. She breaks down the series finale. Rufus Wainwright talks about his new album “Folkocracy,” his past operas, and his upcoming Walt Disney Concert Hall show. Big Supreme Court opinions usually drop in June, and there are several major cases left, including on voting rights, redistricting, and affirmative action. Prominent artificial intelligence leaders are warning that the technology puts humans at risk of extinction, on par with nuclear war and pandemics.

It is a pleasure to welcome Angel City Chorale's Artistic Director and Conductor, Sue Fink, to Jake's Take with Jacob Elyachar Podcast. In 1993, Sue brought together 18 singers at McCabe's Guitar Shop to form the Angel City Chorale. Now in its 30th year among the premier choral groups in Southern California, Angel City Chorale is proud to represent the spirit and diversity of Los Angeles in its membership, music, and outreach activities, thereby fulfilling its mission to "Build Community One Song at a Time." With over 180 talented and dedicated singers, the Angel City Chorale presents a broad and eclectic repertoire that includes classical, gospel, jazz, pop, and world music. In 2018, Sue Fink led the Angel City Chorale as they competed in the long-running NBC talent competition America's Got Talent. They received the Golden Buzzer from guest judge Olivia Munn for their rendition of "Baba Yetu." Series creator and judge Simon Cowell praised them as "one of the best choirs we've ever had." The choir touched nearly 20 million viewers with its rich sound and compelling message of unity and diversity. The video of Angel City Chorale's cover of Toto's "Africa" has been viewed more than 80 million times by people worldwide. The choir has performed at various venues, including Carnegie Hall, London's Cadogan Hall, the Walt Disney Concert Hall, the Dorothy Chandler Pavilion, and South Africa's Cape Town International Convention Centre. They also recorded at the legendary Abbey Road Studios and shared stages with Burt Bacharach, Dianne Reeves, Jeff Goldblum, Teri Hatcher, and Michael Buble. In this edition of The Jake's Take with Jacob Elyachar Podcast, Sue Fink previewed 30 Rocks and shared a behind-the-scenes story regarding their AGT experience.

Gyan Riley graced the dublab studio to share a live solo guitar piece, insight into his music explorations and some rare recordings. Gyan has collaborated with some of the brightest music minds in the world, from contemporary peers such as Nico Muhly to elder pioneers including his father, Terry Riley. This interview found him fresh from performing at Walt Disney Concert Hall and soon on his way to further world touring. Listen in to discover a musician sending golden currents across our world.

Andy Einhorn (LI:@andy-einhorn) has directed concerts with the Boston Pops, Cincinnati Pops Orchestra, Calgary Philharmonic Orchestra, National Arts Centre Orchestra, and the National Symphony Orchestra. He has worked as the Music Supervisor and Musical Director for the Broadway productions of Carousel and Hello Dolly!  Einhorn's previous Broadway credits include Holiday Inn, Woody Allen's Bullets Over Broadway, Rodgers + Hammerstein's Cinderella, Evita, Brief Encounter, The Light in the Piazza, and Sondheim on Sondheim. He recently served as music director and conductor for the Châtelet Theatre's production of Sondheim's Passion in Paris and Einhorn made his New York Philharmonic debut with world-renowned trumpeter Chris Botti. Since 2011 Einhorn has served as music director and pianist for Six-Time Tony Award Winner, Audra McDonald, performing with her at such prestigious orchestras and venues including The Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra, Los Angeles Opera, Avery Fisher Hall, Carnegie Hall, Walt Disney Concert Hall and Teatro Real, Madrid. They recently recorded performances for an upcoming telecast with the Sydney Symphony at the Sydney Opera House in Australia. Einhorn has also music directed for Barbara Cook at Feinstein's and Toronto's Royal Conservatory of Music. His tour work includes Sweeney Todd, The Light in the Piazza, Mamma Mia!, and The Lion King. Einhorn's work can be heard on the current touring production of Rodgers & Hammerstein's The Sound of Music. Einhorn has worked at Goodspeed Opera House, Signature Theatre, Oregon Shakespeare Festival and PaperMill Playhouse. He was principal vocal coach and pianist for Houston Grand Opera's An Evening with Audra McDonald, a double-bill of Poulenc's La Voix Humaine and LaChiusa's Send. Recording credits include Bullets Over Broadway, Cinderella, Evita, Sondheim on Sondheim (Grammy Nom) Stage Door Canteen and McDonald's newest release, Go Back Home. He served as the music director for HBO's Peabody Award winning documentary Six by Sondheim and music supervisor for Great Performances Peabody Award winning special “Broadway Musicals: A Jewish Legacy” on PBS. Andy Einhorn is an honors graduate of Rice University in Houston, Texas.

Mom Stomp reviews the Walt Disney Concert Hall BUT FIRST they talk trolls, starting the Mom Stomp Patreon for the real ones, the Renaissance World Tour ticket sales (the visuals, the cap, the stadium seating chart, oh my!), Alyssa Milano needing to text Scary Spice, Rihanna's new lip mask (balm), Janet's stamina, The Last of Us vs Nightstalker, Servant, Annie and red-headed-males. Also, they drag Ticketmaster to hell. #eddiewasright #karenwiththebrownhair #beyonce #renaissanceworldtour #WHOwillbethebartender #togetheragaintour #brasforludacris

Andy Einhorn (LI:@andy-einhorn) has directed concerts with the Boston Pops, Cincinnati Pops Orchestra, Calgary Philharmonic Orchestra, National Arts Centre Orchestra, and the National Symphony Orchestra. He has worked as the Music Supervisor and Musical Director for the Broadway productions of Carousel and Hello Dolly!  Einhorn's previous Broadway credits include Holiday Inn, Woody Allen's Bullets Over Broadway, Rodgers + Hammerstein's Cinderella, Evita, Brief Encounter, The Light in the Piazza, and Sondheim on Sondheim. He recently served as music director and conductor for the Châtelet Theatre's production of Sondheim's Passion in Paris and Einhorn made his New York Philharmonic debut with world-renowned trumpeter Chris Botti. Since 2011 Einhorn has served as music director and pianist for Six-Time Tony Award Winner, Audra McDonald, performing with her at such prestigious orchestras and venues including The Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra, Los Angeles Opera, Avery Fisher Hall, Carnegie Hall, Walt Disney Concert Hall and Teatro Real, Madrid. They recently recorded performances for an upcoming telecast with the Sydney Symphony at the Sydney Opera House in Australia. Einhorn has also music directed for Barbara Cook at Feinstein's and Toronto's Royal Conservatory of Music. His tour work includes Sweeney Todd, The Light in the Piazza, Mamma Mia!, and The Lion King. Einhorn's work can be heard on the current touring production of Rodgers & Hammerstein's The Sound of Music. Einhorn has worked at Goodspeed Opera House, Signature Theatre, Oregon Shakespeare Festival and PaperMill Playhouse. He was principal vocal coach and pianist for Houston Grand Opera's An Evening with Audra McDonald, a double-bill of Poulenc's La Voix Humaine and LaChiusa's Send. Recording credits include Bullets Over Broadway, Cinderella, Evita, Sondheim on Sondheim (Grammy Nom) Stage Door Canteen and McDonald's newest release, Go Back Home. He served as the music director for HBO's Peabody Award winning documentary Six by Sondheim and music supervisor for Great Performances Peabody Award winning special “Broadway Musicals: A Jewish Legacy” on PBS. Andy Einhorn is an honors graduate of Rice University in Houston, Texas.

In our last episode for the year, we discover the benefits of music. Music is all around us, regulating our feelings and bringing good vibes when we need it. It allows us to feel all the emotions that we experience in our lives and recall fond memories. Listening to music can reduce anxiety, blood pressure, and pain, as well as improve sleep quality, mood, mental alertness, and boost energy. It can enhance brain activity and improve our health and well-being.We converse with renowned international music artist, Zuill Bailey. Bailey is a Grammy-Award-winning American Cellist, who has produced more than 30 chart-topping titles, performed at the Walt Disney Concert Hall, the Kennedy Center, and Carnegie Hall, to name a few. He is the Artistic Director of El Paso Pro-Musica and a Professor of Cello at the University of Texas at El Paso.This month's intermission segment, "Where Were You on August 3rd?" features the owner of Instruments of Healing and sound healing teacher, Cesar Lujan. Lujan gives us a personal account of the August 3, 2019 tragedy.

This week on The Hamilton Review Podcast, Dr. Bob welcomes American conductor Troy Quinn to the show! In this conversation, Troy shares the details of his impressive musical and academic background as well as his deep love for music. Troy is the new conductor of the Santa Monica Symphony Orchestra and the city is excited to have him lead the beloved orchestra.  Don't miss this great conversation! American conductor Troy Quinn is quickly establishing himself as one of his generation's most versatile young artists. Lauded for his energetic and riveting, yet sensitive conducting, Quinn is in his sixth season as Music Director of the Owensboro Symphony Orchestra in Kentucky. He is also the Music Director of the Venice Symphony in Florida where he conducts both the classical and pops concert series. Quinn's engagements have included performances with many prestigious orchestras in the United States, including the Los Angeles Chamber Orchestra, Rochester Philharmonic Orchestra, Chamber Orchestra of Philadelphia, and the Rhode Island Philharmonic, where he serves as the Summer Pops conductor. He is also the former Music Director of the Juneau Symphony. Since making his conducting debut with the Rochester Philharmonic Orchestra in their young conductor preview, Quinn has been the recipient of numerous accolades, including awards from the Presser Foundation, Rislov Foundation, Anna Sosenko Assist Trust, and a Rhode Island Foundation grant for his contributions to the musical landscape in New England. Equally at home in the pops and commercial world, Quinn has performed and recorded with some of the most popular artists of our time, including The Rolling Stones, Barry Manilow, Lee Greenwood, Josh Groban, Jennifer Hudson, Rockapella, Michael Feinstein, and Linda Eder. As an accomplished vocalist, Quinn has also collaborated with such prominent maestros as Helmuth Rilling, Carl St. Clair, and Dan Saunders of the Metropolitan Opera. In addition to his concert work, Quinn has worked extensively in the television and recording industry, having made appearances on such hit TV shows as Fox's GLEE, NBC's The Voice, and The Tonight Show with Jay Leno while recording on films like The Call of the Wild and Indiana Jones and the Kingdom of the Crystal Skull. He has also appeared at many of the world's major music centers and at such famed venues as the Hollywood Bowl and Walt Disney Concert Hall. A native of Connecticut, Quinn pursued a bachelor of arts degree from Providence College where he was the recipient of the Leo S. Cannon award for superior achievement in the music field. He went on to earn his masters degree with honors from the Manhattan School of Music, studying conducting with David Gilbert and voice with highly acclaimed Metropolitan Opera singer Mark Oswald. He completed his doctorate in conducting at the University of Southern California's Thornton School of Music, where he studied with Larry Livingston and Jo-Michael Scheibe and was awarded the outstanding doctoral graduate of his class. Quinn has participated in numerous masterclasses as a conducting fellow, attending conducting institutes at the Royal Academy of Music, Eastman School of Music, and Bard Conservatory of Music. He has been mentored by such renowned conductors as Benjamin Zander, Neil Varon, and Leon Botstein. Quinn serves on the conducting faculty at the University of Southern California's Thornton School of Music and has previously served as a faculty member at Providence College. How to contact Troy Quinn: Troy Quinn website How to contact Dr. Bob: Dr. Bob on YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Dr. Bob on Instagram: https://www.instagram.com/drroberthamilton/ Dr. Bob on Facebook: https://www.facebook.com/bob.hamilton.1656

The great David Newman has been scoring memorable and iconic films since the mid-1980s, and after his own prolific career has found himself being a part of a unique world — live film music concerts. From conducting John Williams concerts at the world-famous Hollywood Bowl, to conducting orchestras live-to-picture at Walt Disney Concert Hall, David has stumbled into a world of new opportunities. We talk about why film music concerts feel more like rock concerts than classical ones, and why experimenting with the performances can trigger massive audience responses. This is everything you wanted to know about the experience of seeing a film music concert! Interview by Kenny Holmes and Matt Schrader.

On September 11,2001, FDNY Battalion Chief Rich Alles responded to the World Trade Center twenty minutes after the second collapse. His assignment entailed the supervision of search and rescue units for the entire two weeks of the operation.  He witnessed untold horrors.  Now retired with the rank of Deputy Chief, Rich helped lobby Congress for the 9/11 Health and Compensation Act (The Zadroga bill).Still maintaining an active presence at Ground Zero, Rich brings extensive firsthand expertise to any forum relative to 9/11 victims' benefits.Chief Alles will be joined on our podcast by Michael Barasch, Esq. of Barasch and McGarry law firm.Michael has spearheaded the effort for monetary compensation for victims of 9/11. Along with Jon Stewart, Michael has had extraordinary results demanding satisfaction and justice for all affected on that tragic day.This week's 9/11 podcast will discuss victims' eligibility for the plan, along with little-known valuable information for victims and their families who have yet to enroll, and even for victims who have already received compensation.Please join Mick and Mook on 9/7 for this informative and important podcast.

He is one of todays most outstanding and charismatic conductors – Gustavo Dudamel's new album "Antonín Dvořák: Symphonies Nos. 7 – 9“ was released in July this year. DG podcast host Sarah Willis meets him in the Walt Disney Concert Hall in Los Angeles for this new episode where Dudamel talks about the new recording, his relationship with the L.A Philharmonic and his project for young musicians “Encuentros LA 2022”. Listen to Gustavo Dudamel's album now: http://dgt.link/Dudamel-Dvorak-Symphonies

Shuo Zhai - Architect & Singer & Pianist Shuo's a double Ampersand — an architect working for Frank Gehry, AND a professional choral singer in the Los Angeles Master Chorale, AND an accomplished solo and collaborative pianist. Jessica first got to know Shuo in college in the opera The Magic Flute, where he was the Papageno to Jessica's Pamina. A year later, he was Jessica's collaborative pianist for her senior recital. After a few years working in finance, Shuo followed his passion for architecture and went to Yale for his masters degree. He now works with Frank Gehry at Gehry Partners, where he's taken on projects ranging from cultural centers and exhibitions to private homes to the recently-adopted LA River Master Plan. Since 2015, Shuo has sung with the GRAMMY-Award-winning Los Angeles Master Chorale. You can see him sing live at the Walt Disney Concert Hall in LA, and you can also hear him on movie scores such as Star Wars episodes 8 and 9. Learn more @shuoazhai Are you a high achiever, a leader in your workplace, a person with many interests, maybe even an Ampersand? Well, guess what? Jessica works with people just like you. Jessica can help you navigate change, stay true to your values, and thrive as a leader. Learn more at jessicawan.com. She reads every single message. Credits Produced and Hosted by Jessica Wan Co-produced, edited, and sound design by Naomi Tepper Music by Denys Kyshchuk and Stockaudios from Pixabay Excerpt from The Magic Flute by Wolfgang Amadeus Mozart. Shuo Zhai, baritone and piano, Jessica Wan, soprano

Gustavo Dudamel and the Los Angeles Philharmonic scored rave reviews for their performances of Antonín Dvořák's masterful final three symphonies in February 2020. Hailed as “a revelation” by the Los Angeles Times, their interpretations were recorded live at Walt Disney Concert Hall by Deutsche Grammophon for release as a digital album – the follow-up to the artists' Grammy Award-winning recording of Mahler's Symphony No. 8. Available in Dolby Atmos, Antonín Dvořák: Symphonies Nos. 7 – 9 captures the power and intensity of Dudamel's vision of three of the greatest works in the symphonic repertoire. Purchase the music (without talk) at:Dvorak: Symphonies 7-9 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katlyn Morahan from Morahan Arts and Media.

Season 3 kicks off with the incredibly talented, Will B. Bell!Will B. Bell began his formal training with the dance competition circuit at the age of 15 in the Baltimore area. After high school, Will attended Towson University where he received his Bachelor of Fine Arts degree in Dance Performance. During his collegiate years, Will had the opportunity to train in prestigious summer programs such as the Ailey School and the Lines Ballet School. During his training at Towson University, he studied heavily and worked under Linda Denise Fisher Harrell (former Ailey principal dancer), Vincent Thomas (VT Dance Director), and Runqiao Du (former Washington Ballet principal dancer).After college, Will moved to LA to pursue his career in commercial dance, where he has worked with TV and movie choreographers such as Michael Rooney, Ryan Heffington, Kitty McNamee, Keither Young, Denise Faye, Melanie Williams, Tony Gonzalez, Michael Rooney, and more. Through these choreographers, he has worked with Hugh Jackman, and can be seen on ABC's General Hospital, SciFi's Face Off, a music video with Arcade Fire's Will Butler featuring Oscar winner Emma Stone, and an AT&T commercial, among others. He has also performed in productions with the Los Angeles Philharmonic Orchestra at the historic Walt Disney Concert Hall.Over the past few years, some of Will's contemporary ballet choreography has gone viral, and has been recognized internationally on many major platforms. Some of his work has been set at collegiate institutions such as Towson University, AMDA, The Studio School (formerly known as the Relativity School). Will had the opportunity to perform with Japanese pop icon Koichi Domoto in Endless Shock, The Musical in Tokyo. He was also seen dancing and acting in Hairspray Live on NBC alongside Derek Hough, Ariana Grande, and Jennifer Hudson. Will had the opportunity of performing in Bejing and Scotland in a production called Apologue 2047 (a show about the endless possibilities of what happens when dance meets technology), directed by iconic Chinese movie director Zhang Yimou, and choreographed by international choreographers Lisa Keegan and Emma Seward. Recently his contemporary ballet work was featured in Son of a Bishop's music video Love Left Me Lonely. Currently Will is on faculty at Millennium Dance Complex, Edge Performing Arts Center, and Movement Lifestyle, and teaches jazz, contemporary, contemporary ballet, and modern internationally. You can follow Will on Instagram @willbbellDon't forget to like, follow and share our linksFacebook: JAM Joe and Michelle's Dance PodcastInstagram: Jam_dance_podcastStream us on Spotify, Apple Podcasts, and anywhere else you listen to your favorite podcast.  Leave us a rating and let us know what you would like to hear next!

Synopsis For fans of British comedy, the name Peter Sellars conjures up an actor famous for his iconic role as the bumbling Chief Inspector Clouseau in “Pink Panther” movies. But for opera fans, the name refers to a completely different fellow: an American theater director born in 1957. The American Peter Sellars is notorious for staging classic operas as if they were set in present-day America. For example: Mozart's “Don Giovanni” in a dangerous, drug-dealing neighborhood in New York City's Spanish Harlem, or “The Marriage of Figaro” in a luxury penthouse in Trump Tower. Sellars is also the frequent partner of American composer John Adams in brand-new operas and concert projects. On today's date 2012, a new oratorio by Adams and Sellars titled “The Gospel According to the Other Mary” received its world premiere at the Walt Disney Concert Hall in Los Angeles with Gustavo Dudamel conducting the Los Angeles Philharmonic and the Los Angeles Master Chorale. The new work's libretto, crafted by Sellars, tells the Biblical story of the passion and death of Jesus from the point of view of "the other Mary," Mary Magdalene, alongside texts and scenes from contemporary American life, including a women's shelter, labor and social justice protests, and the opioid crisis. If Jesus were alive today, Sellars and Adams seem to be saying, He would be ministering to the suffering margins of American society, not to the rich and powerful. Music Played in Today's Program John Adams (b. 1949) — chorus, fr “The Gospel According to the Other Mary” (Los Angeles Master Chorale & Los Angeles Philharmonic; Gustavo Dudamel, cond.) DG 0289 479 2243 8

This week's guest hails from Ecuador, Francisco Ruiz is a vocalist, multi-instrumentalist, arranger, and music director for a variety of choirs and music groups in LA. He has worked with various artists including U2, Ivan Lins, Luis Enrique, and KC Porter. He has worked as vocalist and choir director at various important venues including the Walt Disney Concert Hall, Jimmy Kimmel Live!, The Wiltern, among others.Graduated from the prestigious Berklee College of Music, Francisco has been a vocal educator for over 8 years, touring with vocal projects and sharing his knowledge in vocal improvisation acquired by studying and performing with ten-time Grammy Award winner Bobby Mcferrin and members of Voicestra: Joey Blake and Rhiannon. Francisco performed in Chile at the 2016 Viña del Mar International Song Festival alongside Paulina Aguirre representing the Latino Immigrants in the United States, winning Best Performance. The Quinta Vergara venue was sold out the 3 nights they performed, attracting over 60,000 people and millions of TV and streaming viewers around the world.https://www.franciscovocals.com/Music for this episodeAl Otro Lado Del Rio by Jorge Drexler performed by Francisco Ruiz vocals and Zak Dylan guitarMi Hijo ( my son) By Francisco RuizLooking For Paradise by Alejandro Sanz & Alicia Keys - performed by  Francisco Ruiz-vocals & Zak Dylan- guitarThis podcast is sponsored byMichigan ArtShareColdPlunge RecordsTo become a sponsor for this podcast, go to the Patreon link below.https://www.patreon.com/TiaTime1Produced by Green Bow Music

Composer and conductor of the Los Angeles Youth Orchestra Russell Steinberg discusses Argentine music and Stravinsky's The Rite of Spring. This talk was given at the first performance of Dudamel Conducts The Rite of Spring at Walt Disney Concert Hall. Pieces discussed: Alex NANTE El Rió de Luz (world premiere, LA Phil commission) GINASTERA Estancia STRAVINSKY The Rite of Spring See this year's Upbeat Live schedule at: laphil.com/ubl. Join us in person for our 2021/22 season! Get tickets: laphil.com/calendar.

The Piano Pod team had a wonderful conversation with the musical power couple, Juhi Bansal & Nic Gerpe, from L.A.! 

KUSC's Brian Lauritzen discusses how the Divine Comedy inspired Adès' Dante. This talk was given at the first performance of Dudamel Leads Adès' Dante at Walt Disney Concert Hall. Pieces discussed: Thomas ADÈS Dante (U.S. premiere; commissioned by the LA Phil and The Royal Ballet, with generous support from the Lenore S. and Bernard A. Greenberg Fund) See this year's Upbeat Live schedule at: laphil.com/ubl. Join us in person for our 2021/22 season! Get tickets: laphil.com/calendar.

Have you ever wanted to learn about marketing yourself directly from a seasoned CMO? This is your chance! Jayzen is thrilled to welcome his old friend, David Miller, to the show. David is the CMO of the San Diego Zoo Wildlife Alliance, home of the world famous San Diego Zoo and Safari Park, two of the top tourist destinations in California. David shares a number of fantastic stories and lessons from his incredible career through what is arguably the most dynamic period in modern marketing and advertising. He knows firsthand the power of a great brand, and how to build your own to advance your career. Prior to the San Diego Zoo Wildlife Alliance, David ran marketing for the iconic LA Philharmonic, leading the charge for the historic Hollywood Bowl and Disney Concert Hall, and drove amazing growth as SVP marketing for Universal Studios Hollywood. Guest Bio David Miller Chief Marketing Officer San Diego Zoo Wildlife Alliance David Miller leads San Diego Zoo Wildlife Alliance's marketing department in planning, crafting, and executing communications, sales, membership, licensing and sponsorship initiatives, with the ultimate goal of driving guest engagement and education to further the organization's mission of saving wildlife and advocating for a world where all life thrives. Prior to joining San Diego Zoo Wildlife Alliance, Miller served as senior vice president of marketing communications and partnerships at Universal Studios Hollywood. There, he directed content strategy and development for both traditional and digital marketing, managed corporate partnerships with media outlets and sports franchises, and oversaw Universal's intellectual property relationships and co-branding efforts. Miller also worked as director of marketing communications for the Los Angeles Philharmonic, and led marketing, branding and outreach efforts for performances at the Hollywood Bowl and at Walt Disney Concert Hall; and was director of marketing and sales at the California Health & Longevity Institute. Miller has proven success in defining creative vision and leading project teams to execute on a global scale. His expertise in engaging audiences and creating memorable experiences makes him well suited to build meaningful and lasting connections between people and wildlife, and grow even greater support in San Diego Zoo Wildlife Alliance's commitment to save species worldwide. Miller holds a bachelor's degree in business administration and management from Biola University with an emphasis in marketing. He serves on the brand/content committee of Visit California, a nonprofit working in partnership with the state's travel industry. Links To learn more about Lead With Your Brand system, please visit: LeadWithyYourBrand.com To book Jayzen for a speaking engagement or workshop at your company, visit: JayzenPatria.com

Hosts Evan Cox and Chris Binning crack down on the subject of going to the chiropractor and how awkward it can be. Plus, Evan questions David Bowie, Chris records in the Walt Disney Concert Hall, and they both create a country band.  

My guest today is Los Angeles Philharmonic violist Mick Wetzel, who in addition to being a world class musician, is also the founder of The Viola Pro coaching for musicians on auditions, competitions and really tactical ideas on how to practice. We're going to talk about his own audition journey, how he learned to deal with performance anxiety and pressure, and exactly what Mick does in his OWN practice room to get ready to walk on stage at the Walt Disney Concert Hall week after week. Mick is also going to debunk a huge myth about whether or not talent has anything to do with being successful. What a great topic. I have to say, being a brass player and aiming my trumpet directly at the back of Mick's head in the LA Phil for the past decade and a half, the fact that we are still friends speaks to Mick's incredibly professional and friendly demeanor. And he's a pretty big dude too, so I'm really grateful we get along. Listen all the way to the end of this one, because The Viola Pro has some brand-new programs coming up that you are going to want to know about. Enjoy and happy listening!  The Honesty Pill Podcast is proud to be sponsored by the Yamaha Corporation of America. Thank you, Yamaha! LINKS Mick Wetzel (Facebook) mick.wetzel (Instagram) theviolapro (Instagram) theviolapro.com (website)