Podcast appearances and mentions of zoe keating

C’est la rentrée, et c’est aussi la rentrée du blog, pour la 31e fois depuis 1995 et le sujet du jour sera l’IA et la créativité. L’idée n’est pas d’aborder l’intelligence artificielle sous un angle technique, mais plutôt celui de la réflexion, en puisant à la fois dans mon parcours numérique et artistique. En 2026, la quatrième version de mon programme intitulé « La création de contenu à l’ère de l’IA » (Content Creation in the Age of AI, en anglais) sera dispensée à tous les étudiants du groupe Omnes Education. Une première vidéo avait été enregistrée en 2024 sur ce sujet, et un sérieux rafraîchissement s’imposait. J’ai donc pris pas mal de recul pour en apprendre davantage sur l’impact de l’IA, notamment sur la musique et les arts créatifs. Trois points seulement sont couverts ici, histoire de ne pas me perdre dans un sujet bien trop vaste. D’abord, la popularité apparente des artistes IA sur les plateformes de streaming comme Spotify, avec l’exemple d’un groupe appelé Breaking Rust. Ensuite, l’étude de la Stanford GSB sur les arts visuels et l’impact de l’IA sur les créateurs. Enfin, mes propres réflexions et conclusions sur tout cela. L’IA a-t-elle étouffé créativité et originalité ? Regard sur la période 2024-2026 IA et créativité, et popularité fabriquée, parce que ça aussi, ça existe. En 2024, je m’étais posé cette question : « L’IA et ses outils vont-ils étouffer toute créativité ? » dans le cadre de mon programme Shift24, conçu spécialement pour le groupe Omnes Education. Le programme complet ne peut pas être partagé en ligne, mais mes collègues d’Omnes ont eu la gentillesse de me laisser publier ce petit texte pour mes lecteurs et abonnés, et je tiens à les en remercier chaleureusement, ainsi que pour leur soutien renouvelé ces quatre dernières années. Dans ce cours de 2024 consacré à la « créativité », en m’appuyant sur le dictionnaire Merriam-Webster, j’ai distingué l’innovation de l’invention, et j’ai choisi de me concentrer sur cette dernière, en particulier dans la musique, un sujet que je n’avais pas encore abordé dans mes cours précédents. J’ai ensuite illustré cela avec Suno, capable de produire jusqu’à 900 000 morceaux de musique par jour dès 2024 (loin devant les 1 128 compositions de Bach sur toute une vie de 65 ans). J’ai donc partagé un morceau que j’avais généré moi-même, « The Dying Cyberspace ». Je ne dirai pas que je suis fier de cette chanson, mais au moins, je me suis bien amusé à la générer, et la gratification a été immédiate. (En dehors de mes maigres talents de compositeur) tout cela soulevait des questions sur la valeur de la création musicale, le risque de stagnation créative, et l’épineuse question de la propriété intellectuelle, puisque ces IA sont entraînées sur des siècles de musique créée par des humains. Rien de bien nouveau sous le soleil jusque-là. Pratiquement tous les journalistes ont dû écrire la même histoire ces trois dernières années. Cela dit, j’ai trouvé que cela manquait un peu de recul. J’ai donc relativisé la nouveauté du phénomène en rappelant quelques précédents historiques, « Popcorn » de Gershon Kingsley (1969), les compositions en boucle de Zoe Keating (un exemple parmi bien d’autres), ou encore le projet Magenta de Google, qui remonte à 2016. Ce ne sont là que des exemples. J’ai choisi de rester bref, mais la créativité musicale appuyée sur la technologie ne manque pas depuis plus de 50 ans. Pensons déjà au regretté Klaus Schulze et à ses camarades d’Ash Ra Temple, Tangerine Dream, Kraftwerk, et à toute l’école dite Krautrock, sans oublier le mouvement new wave des années 1980. J’ai aussi cité Wim Mertens, Philip Glass, Laurie Anderson, et des artistes allemands comme Nils Frahm, qui mélangeaient déjà électronique et acoustique bien avant l’IA générative. La vraie différence aujourd’hui, ai-je fait valoir, tient à l’échelle, car ces outils sont désormais entre toutes les mains. Que ce soit pour créer une musique du genre de The Dying Cyberspace, ou un travail généré par IA bien plus ambitieux, comme cet album entier de faux Pink Floyd, qui ne s’est pas aussi bien vendu que The Dark Side of the Moon ou Wish You Were Here. Avec un brin de courage, j’avais conclu à l’époque que l’IA ne remplacerait pas les musiciens, mais deviendrait simplement un instrument de plus dans la boîte à outils créative, la véritable innovation venant de la façon dont les humains utilisent ces outils. La musique restant fondamentalement une affaire d’expression humaine et d’émotion, je pensais, plutôt optimiste, sinon naïf, que la musique générée par IA ne marquait pas la fin de l’invention musicale, mais plutôt le début d’un nouveau chapitre. Voilà pour mes réflexions d’il y a deux ans. Il est temps à présent d’aller plus loin et de voir ce qui s’est passé en 2025-2026. Comme expliqué plus haut, j’ai concentré cette nouvelle recherche sur trois points. D’abord, la popularité apparente des artistes IA sur les plateformes de streaming comme Spotify, avec l’exemple d’un groupe appelé Breaking Rust. Ensuite, l’étude de la Stanford GSB sur les arts visuels et l’impact de l’IA sur les créateurs. Enfin, mes propres réflexions et conclusions. Breaking Rust Breaking Rust, un tube sur Spotify Commençons par Breaking Rust. Breaking Rust est un groupe de country généré par IA qui a atteint la première place du classement Billboard Country Digital Song Sales en novembre 2025, sur Spotify. Les chiffres semblent énormes, plus de 2 millions d’auditeurs mensuels sur Spotify, et plus de 3 millions d’écoutes en moins d’un mois. Le projet est crédité à un certain Aubierre Rivaldo Taylor, dont on sait pourtant très peu de choses. Rivaldo Taylor serait apparemment payé, d’après ce que j’ai pu découvrir, uniquement au téléchargement. Combien ça rapporte ? J’ai essayé de calculer ce que ce classement Billboard pouvait réellement rapporter à monsieur Taylor. En ne regardant que Spotify, et en comptant qu’un artiste touche entre 0,003 et 0,005 dollar par écoute, le revenu potentiel se situait quelque part entre 9 000 et 15 000 dollars pour ce seul premier mois. Étalez ça sur un an, et vous arrivez sans doute à quelque chose comme 100 000 dollars, à condition que la popularité du groupe ne s’essouffle pas, ce qui a plutôt tendance à arriver, puisqu’il devient déjà plus difficile de trouver Breaking Rust sur Spotify. J’ai ensuite essayé de comprendre ce qu’il faudrait faire pour hisser un titre comme celui-ci en tête des classements. Imaginons que je crée un morceau avec Suno ou une application similaire, que je le mette en ligne sur Spotify, et que je veuille le propulser tout en haut des charts. Ce que j’ai appris, c’est que si peu de morceaux sont réellement achetés par les auditeurs sur ces plateformes que le simple achat d’un millier de téléchargements suffit largement à atteindre la première place, pour ce genre de musique en tout cas. Mon estimation, c’est que si Rivaldo Taylor avait fait cela, ça lui aurait coûté environ mille dollars pour ces mille téléchargements. Voilà un moyen simple et peu coûteux de trafiquer les résultats, et un chemin plutôt facile vers le sommet. IA et créativité : Breaking Rust a-t-il triché sur les applaudissements ? Il vit en tout cas en sursis, à l’en croire. Growth hacking Ce qui se passe sur ces plateformes ne se limite pas au contenu. C’est ce que les experts du marketing digital appellent le growth hacking, autrement dit la manipulation des statistiques, et ce domaine est truffé de fraude. Le streaming généré par des bots en est le point de départ, avec des robots qui écoutent, ou plutôt qui font semblant d’écouter, des morceaux pour les faire paraître plus populaires qu’ils ne le sont réellement. Sur Deezer, l’une des plateformes de streaming, on a constaté que 70 à 85 pour cent des écoutes étaient signalées comme générées par IA. On en est arrivé à un point où cela menace les plateformes elles-mêmes, car qui a vraiment envie d’écouter autant de bouillie numérique (AI Slop) ? Breaking Rust n’est pas si mauvais que ça pourtant, je le trouve même plutôt bon, mais je n’ai pas envie d’écouter ça du matin au soir. Je veux écouter de vrais artistes. La méthode qui a peut-être été utilisée par Breaking Rust est classique. Difficile d’affirmer avec certitude qu’elle l’a été ici, mais c’est probable. Le même genre de combines se retrouve sur d’autres plateformes, comme Instagram. Jos Avery, le vrai-faux photographe sur Instagram. Avec l’IA, créativité et authenticité ont pris un coup Un « photographe » Instagram du nom de Jos Avery, prétendument basé à Londres et photographiant avec un Nikon D810, s’est révélé être un avatar IA publiant des photographies générées par machine, faites avec Midjourney et Photoshop. En regardant son fil Instagram, il m’a semblé assez évident que ses portraits étaient générés par IA. Peut-être que les utilisateurs d’Instagram ne font pas la différence. IA et créativité, le coût de l’IA pour les vrais créateurs d’arts visuels En m’intéressant aux arts visuels, je me suis tourné vers l’étude de la Stanford GSB qui compare 2024 et 2025. L’IA fait croître les ventes globales des plateformes, le gâteau grossit donc, mais la part qui revient aux créateurs se réduit de façon spectaculaire. C’est quelque chose que l’on a déjà observé avec le contenu, le marketing des plateformes et les réseaux sociaux, et cela se produit désormais aussi avec l’IA. C’est du marketing de plateforme classique. Il y a tellement de bouillie numérique que la part de valeur revenant au contenu, et son prix, part littéralement à la poubelle. L’impact sur les arts visuels est considérable. Dans une enquête menée en 2026, 32 pour cent des illustrateurs ont déclaré avoir perdu des commandes à cause de l’IA générative. La perte annuelle moyenne chez les illustrateurs britanniques touchés par ce boom de l’IA s’élevait à environ 9 000 livres sterling. Selon la Society of Authors, 26 pour cent des membres ont signalé une perte de travail liée à l’IA, avec une perte de revenus associée avoisinant les 40 pour cent. C’est considérable. On peut donc dire que l’IA n’a probablement pas tué la créativité, mais elle a bel et bien tué la valeur qui lui était associée. Je peux confirmer que la même chose s’est produite dans le marketing de contenu. Le renouveau de la photo argentique a un coût, et je ne parle même pas de cette magnifique bête à droite, là-haut. Mais je pense qu’il va y avoir un renouveau, un peu comme ce qui s’est passé avec la photographie argentique, et comme vous le savez, je suis moi-même photographe. J’ai récemment acheté un appareil flambant neuf datant de 1966, et je suis allé chercher le vieux Canon AE-1 de mon père. Je me suis remis à l’argentique, même si je suis en réalité un pionnier de la photo numérique, ayant commencé en 1995 et n’ayant jamais cessé de photographier en numérique depuis. Pourtant, je trouve aujourd’hui qu’il y a de bonnes raisons pour les photographes de revenir à la pellicule. C’est d’ailleurs ce qu’explique Tony Northrup dans la vidéo ci-après. Alors que le look photo pro a été copié par Midjourney, celui-ci finit par devenir « craignos » (cringe), et la nouvelle tendance des photographes new-yorkais ces temps-ci est de revenir à l’argentique et, si possible, au moyen format. J’étais d’ailleurs en train de suivre la même tendance de manière intuitive. La première raison, c’est d’échapper au soupçon d’IA qui touche déjà l’écrit, où des textes ont été rejetés parce qu’ils contenaient des tirets cadratins, alors que tout le monde utilisait ces tirets avant que l’IA ne les rende suspects. La méfiance monte, et les utilisateurs comme les clients tiennent à savoir d’où vient réellement le contenu. L’avez-vous fait vous-même, ou l’avez-vous fait avec l’IA ? Et si vous l’avez fait avec l’IA, ça ne veut pas forcément dire que c’est mauvais, mais ça veut certainement dire que ça ne vaut plus la même chose. Si l’IA peut produire quelque chose en une seconde, pourquoi paierait-on un professionnel mille euros pour faire la même chose, peut-être même sans relecture ? La hausse du prix de la pellicule est elle-même un bon signe de la valeur croissante de l’argentique face au numérique. Une pellicule peut coûter jusqu’à 20 dollars, soit 15 euros en Europe, le rouleau, même si ça dépend de ce qu’on achète, la pellicule 6×6 coûte plus cher que le 35 mm (24×36), qui est moins onéreux et se trouve autour de 5 euros en France. Mais si je tire une pellicule complète de 36 poses et que je fais agrandir tous les tirages, ça peut facilement revenir à 60 ou 70 euros par pellicule, ce qui est beaucoup, et si je fais une erreur, ce qui m’arrive de temps en temps puisque je n’ai plus l’habitude et que je dois réapprendre le processus, ça coûte encore plus cher. Mais cette rareté même est la preuve que rien n’a été synthétisé. C’est réel, c’est vrai. C’est un peu comme le retour du vinyle chez les jeunes, dont vous faites probablement partie. Le vinyle n’est pas meilleur que le CD, contrairement à ce que l’on pense. Il est même bien pire sur le plan technique, mais il a ce grain analogique, quelque chose d’humain. Je crois que de plus en plus de gens vont exiger davantage d’humanité dans la création. Les créateurs de contenu (ordinaires) pourront-ils encore en vivre ? C’est vrai, on peut truquer les classements, pour l’instant. Breaking Rust a prouvé qu’il est facile de tricher avec le streaming, mais je ne pense pas que la fraude par bots va durer. Spotify, Deezer, Apple et les autres, avec en plus l’AI Act européen, vont faire porter le fardeau de la preuve vers la transparence, tout comme cela se produit déjà pour l’écrit, comme je l’ai évoqué dans une autre vidéo. Il ne semble pas évident qu’on puisse se faire prendre, mais je crois qu’au bout d’un moment les gens voudront des preuves que rien n’a été trafiqué. En photographie numérique, cela voudra dire montrer ses fichiers RAW et l’historique de ses retouches, parce que sinon c’est bien trop facile, surtout avec les nouveaux outils d’image comme Gemini ou ChatGPT, dont les résultats sont vraiment impressionnants. Je pense donc que la créativité survivra. Ce qui est bien moins certain, c’est de savoir si les personnes qui travaillent réellement dans les métiers créatifs pourront en vivre. Là, c’est beaucoup plus douteux. AI-Creativity-Visionary Marketing version 2026Télécharger la présentation À propos du Groupe OMNES Education OMNES Education (anciennement INSEEC U.) est un groupe français d’enseignement supérieur. C’est le seul groupe à proposer une offre de formation tout au long de la vie couvrant le Management, l’Ingénierie, les Sciences politiques et relations internationales, ainsi que la Communication et la Publicité, à travers des écoles telles que ECE, ESCE, EU Business School, INSEEC, IUM Monaco, Sup Career, IFG Executive Education, HEIP-CEDS, Sup de Création, Sup de Pub et Créa Genève. Le groupe forme 40 000 étudiants, accompagnés par 3 000 experts au sein de 15 écoles et 19 campus, avec 215 000 alumni. Les campus sont situés à Paris, Lyon, Bordeaux, Beaune et Chambéry, ainsi qu’à l’international à Monaco, Londres, Barcelone, Munich, Genève et Lausanne. Source : omneseducation.com/en/the-group/about-omnes-education | omneseducation.com/en/the-group/governance À propos du programme Shift Shift est un programme unique et obligatoire, pleinement intégré au cursus des étudiants d’Omnes. Son objectif premier est de leur permettre d’acquérir des connaissances et de développer des compétences complémentaires à leur domaine d’études initial. Le programme comprend quatre mini-cours, d’une durée de 12 heures chacun, dispensés par les écoles du Groupe. Les étudiants ont la liberté de choisir l’une des quatre thématiques proposées, leur permettant ainsi d’explorer un nouveau champ d’enseignement. Selon l’école, les étudiants peuvent sélectionner parmi trois thématiques ne relevant pas de leur domaine d’études initial. Parmi ces quatre thématiques figure « La création de contenu à l’ère de l’IA ». Ce cours a été dispensé pour la première fois en 2023 et fait l’objet d’une actualisation constante. Les étudiants y explorent les enjeux liés à l’usage de l’IA. Au-delà de la simple découverte des outils et des capacités technologiques, l’accent est mis sur l’esprit critique et la transformation personnelle. The post IA et créativité : faisons le point en 2026 appeared first on Marketing and Innovation.

This episode of Seeing Them Lives features an engaging conversation with Matt Carmichael, a seasoned live music fan and concert photographer, known for his long-term association with Poi Dog Pondering. The discussion delves into Carmichael's early concert experiences, starting with seeing the Jackson 5 at the Silver Dome in 1984. Matt shares intriguing anecdotes about the first concert he attended with his dad and reflects on the evolving context of that experience over time. He also recounts the unexpected presence of Paula Abdul as choreographer and a juggler named Chris Bliss opening the Jackson 5 performances, adding intriguing details to his music journey. The discussion explores Carmichael's storied career, highlighting his time as the house photographer for various iconic Chicago venues and his ongoing contributions to the band Poi Dog Pondering. He narrates the captivating story of how he built and managed the band's first website in 1994, leading to a cherished relationship with its members, characterized by unique moments and extraordinary access to the band. Stories of notable concert photographs, nurturing artist relationships, and dealing with fame punctuate the narrative, demonstrating Carmichael's passion and dedication to his craft. A substantial part of the conversation shifts to Carmichael's memorable experiences photographing famous bands like the Rolling Stones, where the planned and professional approach of the band stands out in contrast to other gigs. He shares stories about his work featured in Swedish postage stamps and meeting various musicians over the years.He details heart-pounding moments with Mooney Suzuki and Gogo Bordello, where bands took risky performances. Additionally, Matt discusses his long-standing website, RocknRoll.net and discusses his latest project—a book compiling fascinating stories of meeting and working with iconic musicians and heroes. His work combines his love for music, photography, and personal narratives to create a rich tapestry of rock history and personal growth.BANDS: Blind Melon, Poi Dog Pondering, Sahara Hot Nights, The Rolling Stones,  Zoe Keating.VENUES: The Vic (Chicago), Metro (Chicago), Grant Park (Chicago). PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate.  I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. This episode was originally released in 2016 in the days after the shooting at the Pulse nightclub in Orlando. It is re-released every year on the anniversary of the incident. A note on notes: We'd much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don't suggest looking into the show notes first.Notes and Reading:* Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website.* "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee.* June Thomas' series on the past, present, and future of the gay bar from Slate a few years back.* Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com* Michael Bronski's A Queer History of the United States.* Radically Gay, a collection of Harry Hay's writing.* Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing.Music* We start with Water in Your Hands by Tommy Guerrero.* Hit Anne Muller's Walzer fur Robert a couple of times.* Gaussian Curve does Talk to the Church.* We get a loop of Updraught from Zoe Keating.* We finish on Transient Life in Twilight by James Blackshaw

After a long hiatus, we are back. Takeshi and Santos deep dive into Aggretsuko Season 5 & Zoë Keating - Into the Trees

Host Mikaela Lefrak honors Women's History Month by talking with female Vermonters making waves in their respective fields.

Neils Bohr returns with a new plan for world peace, Oppenheimer's enemies close in from all sides as the Cold War warms up, and shadowy figures from the world of high finance work to expand the American nuclear weapons program.Original music for this series by https://mountainstandardtime.substack.com/Additional music by Alarm Will Sound, Marisa Anderson, Kali Malone, Zoe Keating, Julie Kent, Ben Von Wildenhaus, Brocker Way, William Basinski, Nine Inch Nails, Mulatu Astatke, Richard D. James, Jon Hopkins, and Nils Frahm. Final song by King Dude. For bonus episodes and a custom series patch, become a patron at: patreon.com/historiumSupport the showwww.patreon.com/historium

On the eve of the Second World War, physicists learn of the possibility of splitting the atom. Two rival nuclear programs emerge and the race to the atomic bomb begins... Original music for this series by https://mountainstandardtime.substack.com/Additional music by Kali Malone, Benoît Pioulard, Zoe Keating, Nine Inch Nails, Choral Arts Northwest, and The Louvin Brothers.For the rest of the series and a limited edition Historium patch made specifically for this episode: patreon.com/historiumSupport the showwww.patreon.com/historium

For a special New Year's treat, we take a tour through the history of the universe with the help of… poets. Our guide is Maria Popova, who writes the popular blog The Marginalian (formerly Brain Pickings), and the poetry is from her project, “The Universe in Verse” — an annual event where poets read poems about science, space, and the natural world. Special thanks to all of our poets, musicians, and performers: Marie Howe, Tracy K. Smith, Rebecca Elson, Joan As Police Woman, Patti Smith, Gautam Srikishan, Zoe Keating, and Emily Dickinson. EPISODE CREDITS: Reported by - Lulu Millerwith help from - Maria PopovaProduced by - Sindhu Gnanasambandanwith mixing help from - Jeremy BloomFact-checking by - Natalie A. Middletonand Edited by  - Pat Walters FURTHER READING AND RESEARCH:To dig deeper on this one, we recommendBooks: - Tracy K Smith's “Life On Mars” (https://zpr.io/weTzGTbZyVDT)- Marie Howe's “The Kingdom Of Ordinary Times” (https://zpr.io/Tj9cWTsQxHG3)- Rebecca Elson's “A Responsiblity To Awe” (https://zpr.io/PLR3KL8SfuPR)- Patti Smith's “Just Kids” (https://zpr.io/zM47P5KqqKZx)Music:- Joan As Policewoman (https://joanaspolicewoman.com/)- Gautam Srikishan (https://www.floatingfast.com/)- Zoe Keating (https://www.zoekeating.com/) Internet:- The Marginalian blog post (https://zpr.io/abTuDFH9pfwu) about Vera Rubin- Check out photos of Emily Dickinson's Herbarium (https://zpr.io/XkgTscKBfem6), a book of 424 flowers she picked and pressed and identified while studying the wild botany of Massachusetts.Tracy K. Smith, “My God, It's Full of Stars” from Such Color: New and Selected Poems. Copyright © 2011 by Tracy K. Smith. Read by the author and used with the permission of The Permissions Company, LLC on behalf of Graywolf Press, Minneapolis, Minnesota, www.graywolfpress.org.Fun fact: This episode was inspired by the fact that many Navy ships record the first log entry of the New Year in verse! To see some of this year's poems and learn about the history of the tradition, check out this post by the Naval History and Heritage Command. And, if you want to read a bit from Lulu's interview with sailor poet Lt. Ian McConnaughey, subscribe to our newsletter. Our newsletter comes out every Wednesday. It includes short essays, recommendations, and details about other ways to interact with the show. Sign up (https://radiolab.org/newsletter)! Radiolab is supported by listeners like you. Support Radiolab by becoming a member of The Lab (https://members.radiolab.org/) today. Follow our show on Instagram, Twitter and Facebook @radiolab, and share your thoughts with us by emailing radiolab@wnyc.org. Leadership support for Radiolab's science programming is provided by the Gordon and Betty Moore Foundation, Science Sandbox, a Simons Foundation Initiative, and the John Templeton Foundation. Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation.

Artist Album Track Label Year Time PinioL Bran Coucou Pogne Dur et Doux 2018 7:15 Hawkwind Space Ritual Space Is Deep United Artists 1973 8:13 Tom Skinner Voices of Bishara Bishara International Anthem 2022 5:38 Weidorje Weidorje Vilna Cobra 1978 12:20 Village of the Sun First Light The Spanish Master Gearbox 2022 5:31 Zoe Keating […]

Six months after the Russian invasion of Ukraine, President Putin has rallied the Russian population around the brutal conflict. On this week's On the Media, hear how the Kremlin's crackdown on the press paved the way for war. Plus, a look inside the world of Russian propaganda, and how it influences people. 1. OTM Producer Molly Schwartz [@mollyfication] speaks with Alec Luhn [@ASLuhn] and Veronika Silchenko [@NikaSilchenko], freelance journalists for Vice, on reporting in Russia under repressive new laws. And Kirill Martynov [@kmartynov], Editor-in-Chief of Novaya Gazeta Europe, and Katerina Kotrikadze [@katyakotrikadze], news director and anchor at TV Rain, and Roman Dobrokhotov [@Dobrokhotov], Editor-in-Chief of The Insider, on working as Russian journalists-in-exile. Listen. 2. Thomas Rid [@RidT], author of the book Active Measures, on the the long ancestry of modern-day Russian info ops, and Francis Scarr [@francis_scarr], senior digital journalist at BBC Monitoring, on the false narratives that Russian state TV broadcasts about the war in Ukraine. Listen.  3. Anastasiia Carrier [@carrierana22], freelance journalist, on growing up with Russian propaganda and unlearning the Kremlin's lies. Listen. Music: String Quartet No. 3 by Henryk GoreckiExurgency by Zoe KeatingWe Insist by Zoe KeatingThe Artifact & Living by Michael AndrewsI Got a Right to Sing the Blues by Billy Kyle Dance of the Sugar Plum Fairy by Pyotr TchaikovskyThe Hammer of Los - John ZornKhovanshchina Overture (remix) Blackbird by Brad Mehldau  

The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate. This episode was originally released in 2016 in the days after the shooting at the Pulse nightclub in Orlando. It is re-released every year on the anniversary of the incident. A note on notes: We'd much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don't suggest looking into the show notes first. Notes and Reading: * Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website. * "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee. * June Thomas' series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com * Michael Bronski's A Queer History of the United States. * Radically Gay, a collection of Harry Hay's writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller's Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

Dans ce 14e épisode, je discute avec Élisabeth Giroux, violoncelliste aussi à l'aise en jazz, en pop, en classique qu'en musique traditionnelle. Une des rares (voire la seule au Québec!) à maîtriser la technique d'archet qu'on appelle chops, elle nous parle de son parcours atypique. Les coups de coeur d'Élisabeth : Le trio É.T.É. avec Élisabeth : https://www.etemusiquetrad.ca/ Claude Lamothe : https://www.youtube.com/watch?v=fsLMR_SfHs4 Eugene Friesen : https://eugenefriesenmusic.com/ Zoe Keating : https://www.zoekeating.com/ Natalie Haas : https://www.nataliehaas.com/ Anja Lechner : https://www.anjalechner.com/ Mike Block : https://www.mikeblockmusic.com/ Toujours rêver d'apprendre le violoncelle? Et si c'était possible de le faire à votre propre rythme, dans le confort de votre foyer? Toutes les informations à www.praticocello.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/praticocello/message

The fashion designer and artist Osman Yousefzada tells Michael Berkeley about his childhood in a strictly religious Pashtun community in Birmingham. Osman Yousefzada shot to fame when Beyoncé wore one of his designs to the 2013 Grammy Awards. Lady Gaga, Thandiwe Newton and Taylor Swift are among his many other celebrity clients. He is also an acclaimed artist, curator and film-maker, and the creator of one of the world's largest ever pieces of public art: the ‘wrapping' of the Selfridges building in Birmingham in geometric patterns inspired by Islamic art. Educated at the School of Oriental and African Studies, Central St Martins and Cambridge University, Osman grew up in a community described by the Daily Mail as ‘the Jihadi capital of Britain'. His newly published memoir, The Go Between, is a fascinating account of his childhood and his first steps into the outside world while navigating both racism and family expectations. He tells Michael Berkeley about his beloved mother, a talented seamstress who inspired him as a designer: she was married at 14, had her first child at 15 and lived most of her life in Birmingham, but remained illiterate and never learned to speak English. She hardly ever left the house. Osman's sisters were taken out of school at the age of 11 and also shut away inside the family home. Osman chooses music inspired by the Sufi tradition of Islamic mysticism by Abida Parveen and Nusrat Fateh Ali Khan, and a song by the Grammy-winning Pakistani-American Arooj Aftab, as well as pieces by Philip Glass and by the Canadian composer and cellist Zoe Keating. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

Zoe Keating is our artist today. She's got to be the best one I've ever heard to date with the cello. Only described as a one-woman cellist. That's all. As we delved in, she does have a web site and a full bio. Web site also linked here. Anyhow, enjoy this and other music, right here on the mix and our new partner Blue Streak Radio! Here is the main web site of Zoe. Set 1: Zoe Keating Forest 00:35 Zoe Keating Hello Night 03:50 Zoe Keating Optimist (live) 04:02 Zoe Keating Empty Field 02:09 Set 2: Zoe Keating Escape Artist 06:31 Jeff Wahl She misses the ocean 01:44 Jeff Wahl The Persistence of Hope 04:14 Jeff Wahl Street Party 02:01 Set 3: Chad Lawson Promise Made on Signal Mountain 06:37 Chris Harvey Elation sedation 05:27 Connor Thuotte Just These Bottles 03:37 Davide Viterbo Lumiere 06:19 Set 4: Mannheim Steamroller Funeral March of the Marionette 02:56 Mannheim Steamroller Greek Suite - Goddesses in the Forest 02:37 Ninja Sex Party First Date 02:40 Peter Hollens I Still Haven't Found What I'm Looking For (feat. Sabrina Carpenter) 03:37 Apryll Aileen Eazy Love 03:14 Zoe Keating Forte 04:57 Zoe Keating Nix 03:17 Zoe Keating Exurgency 08:12 Zoe Keating Coda 04:28 Set 5: Gokul Salvadi Care - the Unconventional Piano 02:49 Windpearl Sad world 06:00 Superdirt2 Drops 07:30 Where's Moo Science Fiction Nightmare 04:09 Val Davis Court of Greedy Kings 05:07 Tom Bolton Dreaming And Dancing 03:36 Superdirt2 The Dark Side of the Dirt 04:52 Ken Berman Sailing To Byzantium 07:46 Zoe Keating Possible (live) at King's Place 05:22 Set 6: The Triangle Theory Spirit Sapphosykos 03:27 Shadows On The Snow What If Cats Could Talk 13:46 Scott Orr 2020 02:55 scarless arms & The Billows Burn Bright stage... (smile) 05:22 Philippa Dowding and Allister Thompson Winter 01:53 Mike Benoit N 05:56 Jessica Sinclair Street Lights 02:38 iceman bob clarity 15:47 deadmau5 Ghosts 'n' Stuff (feat. Rob Swire) 05:29 This completes the program, hope you enjoy the program and thanks for listening!

Today for Throwback Thursday, we'll meet a cellist who multiplies her sound to create a one person orchestra. Then, we'll meet KALW's new Friday night music DJ, J Boogie. And, author Lyndsey Ellis talks about grief and healing in her novel "Bone Broth."

The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate. This episode was originally released in 2016 in the days after the shooting at the Pulse nightclub in Orlando. It is re-released every year on the anniversary of the incident. A note on notes: We'd much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don't suggest looking into the show notes first. Notes and Reading: * Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website. * "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee. * June Thomas' series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com * Michael Bronski's A Queer History of the United States. * Radically Gay, a collection of Harry Hay's writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller's Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

In this episode, Zoë talks about the San Fransisco arts warehouse scene, hosting unique performance events, being discovered by NPR at an event reproducing the experience of a nuclear explosion and developing a multi-stranded career as a performer, technologist, composer and film scorer.

With Congress set to consider bills next week that could set the future of Puerto Rican self-determination, we consider how a 70-year-old promise to decolonize the island keeps getting broken. Plus, how Puerto Ricans notched a hugely symbolic victory over the U.S. — during the 2004 Olympics. 1. Yarimar Bonilla [@yarimarbonilla], political anthropologist at Hunter College, examines the afterlife of Puerto Rico's political experiment. Listen. 2. Julio Ricardo Varela [@julito77], co-host of In the Thick and editorial director at Futuro Media, on what the showdown between the Puerto Rican and U.S. Olympic basketball teams in 2004 meant to him then and now. Listen. Music: We Insist by Zoe KeatingYUMAVISION by ÌFÉMalphino by Ototoa La Brega is a podcast series hosted by OTM producer/reporter Alana Casanova-Burgess. The series uses narrative storytelling and investigative journalism to reflect and reveal how la brega has defined so many aspects of life in Puerto Rico, and is available in English and Spanish. 

On this week's show, we talk to Daz Chandler, producer of the multi-disciplinary arts congregation, Vigil for the Smooth Handfish. The global event aims to provide a space to contemplate loss, grief, the parameters of care, radical hope, and “collaborative survival”. We hear samples of the extensive line-up of performances from individuals and communities all over the world, including Chris Bonney, Ivana Dash, Dorion Sagan, Jane Hirshfield, The Letter String Quartet featuring Marita Dyson, and Zoe Keating.To register for the free event, Vigil for the Smooth Handfish, go to: https://www.paralleleffect.com/vigil and click the "Register" button. The vigil occurs on 22nd November 2020.

The Memory Palace is a proud member of Radiotopia, from PRX, a curated network of extraordinary, story-driven shows. Learn more at radiotopia.fm Notes and Reading: * Most of the specific history of the White Horse was learned from “Sanctuary: the Inside Story of the Nation’s Second Oldest Gay Bar” by David Olson, reprinted in its entirety on the White Horse’s website. * “Gayola: Police Professionalization and the Politics of San Francisco’s Gay Bars, 1950-1968,” by Christopher Agee. * June Thomas’ series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse’s 80th anniversary, including this one from SFGATE.Com * Michael Bronski’s A Queer History of the United States. * Radically Gay, a collection of Harry Hay’s writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30’s multiple times because it’s amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller’s Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

George Howard spoke with artist Zoë Keating about the effects COVID-19 is having on the music ecosystem, her own revenue streams, and what her path forward may look like. All music in this episode has been performed by Zoe Keating and is used with her permission. Visit zoekeating.com for more. For more from Entrepreneurship & Art go to www.entrepreneurshipandart.com

Emily White’s career spans the entertainment industry, carving out a unique path that defines a modern maven. She talks with Lawrence Peryer about her new book "How to Build a Sustainable Music Career & Collect All Revenue Streams", artists + athletes she manages, and #iVoted, an initiative where venues reward voters with free concerts.  A bit more about Emily:Emily has worked with artists such as the Dresden Dolls, Imogen Heap, The Fiery Furnaces, Dinosaur Jr., The Secret Machines, Angelique Kidjo, and Taj Mahal, as well as members of The String Cheese Incident and Drive-By Truckers. Brendan Benson of The Raconteurs, Margaret Cho, The Hush Sound, Amanda Palmer, Eric Burdon, Family of the Year, Hockey, The Autumn Defense, Fox Stevenson and W. Kamau Bell. Following the 2012 Olympic games, White launched a sports management division with inaugural client Anthony Ervin, an Olympic legend known as the “rock star” of Olympic swimming. In 2016, White signed head U.S. Olympic Women’s Swim Coach David Marsh and Olympic gold medalist Kaitlin Sandeno, expanding the sports’ division further. After witnessing slim margins in the 2016 U.S. Election, White was inspired to get out the vote. The result was a new initiative called #iVoted, in which over 150 venues in 37 states let fans in on Election Night 2018, who showed a selfie from outside of their polling place. Press on #iVoted can be found here, with the movement gearing up as we speak for the 2020 U.S. Presidential Election and beyond.White is currently an in-demand speaker and consultant due to her expertise within the modern music and sports industries, artist development, social media, and beyond. In the media, White’s name has graced the cover of Billboard Magazine with her work additionally profiled in Fast Company, Forbes, Bloomberg, and ESPN. In 2017 White released her debut book, Interning 101; a how-to guide for interns in modern business. The book is based on the “intern manifesto” handbook created by White and is published by 9GiantStepsBooks. How to Build a Sustainable Music Career & Collect All Revenue Streams is White’s second book and can be found here. It is a #1 Amazon Best Seller and is a course book at countless universities around the globe. In 2019, White became an adjunct instructor for New York University’s Clive Davis Institute of Recorded Music, within NYU’s Tisch School of The Arts.White is thrilled to have launched Collective Entertainment with longtime colleague Melissa Garcia. Collective Entertainment houses all of White’s management, entrepreneurial work, and beyond.

How music streaming is changing music and how artists get paid.

Millions tuned into impeachment hearings this week — the first two of five already scheduled. On this week’s show, why shifts in public opinion may not necessarily sway the GOP. Plus, what we can learn from the predatory tactics that enriched Bill Gates. 1. Nicole Hemmer [@pastpunditry], author of Messengers of the Right: Conservative Media and the Transformation of American Politics, on the false premise underlying hope for President Trump's removal. Listen. 2. John Dean [@JohnWDean] former White House counsel, on the lessons he's applying from Watergate to the impeachment hearings for President Trump. Listen. 3. Former Labor Secretary Rob Reich [@RBReich] and Goliath author Matt Stoller [@matthewstoller] on how billionaires like Bill Gates use their power and wealth to force their vision on society. Listen. Music: Zoe Keating — We InsistDonnie Darko — Cellar DoorChicago Sunset — Charlie MusselwhiteCarmen Fantasy — Anderson and RowTongue in cheek — Gaurav Raina Tarana MarwahOtotoa — Malphino

In covering President Trump’s decision to stop protecting Kurdish fighters in Syria, press reports have focused on the Kurds as US allies and tools in fighting ISIS. This week, On the Media looks at a different aspect of Kurdish life: the experiment in direct democracy that has flourished in northern Syria for the past five years. Plus: how debate moderators fail audiences when they focus on taxes. And, how reporters have negotiated dangerous conditions while reporting on the Turkish operation in Syria.  1. Daniel Estrin [@DanielEstrin], NPR international correspondent, on the difficulties in reporting from Syria, from outside Syria. Listen.  2.  Jenna Krajeski [@Jenna_Krajeski], a journalist with the Fuller Project for International Reporting, on the Kurdish political project, and Rapareen abd Elhameed Hasn, a 27-year-old activist and co-president of her local health authority in Rojava, on what it's been like on the ground. Listen. 3. Arthur Delaney [@ArthurDelaneyHP], on the worst debate question moderators keep asking. Listen. Music from this week's show: Marcus Ciscar — “Fallen Leaves”Michael Linnen — “Cantus for Bob Hardison”Zoe Keating — “We Insist”Mark Henry Phillips — [untitled track]Mark Henry Phillips — [untitled track]Gaurav Raina and Tarana Marwah — “Tongue in Cheek”Howard Shore — “Cops or Criminals”

The pathways and origins of white nationalist thought were a matter of deadly importance in coverage of last weekend’s shootings. On this week’s On the Media, how mainstream punditry launders a tolerance for xenophobia. Also, the history of American presidents and media figures dismissing black and brown claims to power in a democracy. Plus, what calls for additional federal oversight in Puerto Rico mean for Puerto Ricans. 1. Tom Scocca [@tomscocca], politics editor at Slate, on the journalists, writers and political figures who cater to America's racist id. Listen. 2. Adam Serwer [@AdamSerwer], staff writer at The Atlantic, on the catastrophic, deadly idea that "only white people are fit for self-government." Listen. 3. OTM producer Alana Casanova-Burgess [@AlanaLlama] reports on the conversations some Puerto Ricans are having in Puerto Rico in a historic moment for the island, including demands more democracy -- and what that means in a colonial context. Listen. Music Exurgency by Zoe Keating

How music streaming is changing music and how artists get paid.

A controversial bill in Alabama is the latest in a wave of different abortion bans sweeping the country. This week, On the Media looks at the influence of Janet Porter, a little-known lobbyist who has been pushing what are misleadingly referred to as “heartbeat” laws. And, a deep dive into the rise of Hungarian Prime Minister Viktor Orbán, and what his autocratic regime tells us about the future of Europe. Plus, a new book reveals how conspiracy theories became a fact of American life. 1. Jessica Glenza [@JessicaGlenza], health reporter at the Guardian US, on the influence of Janet Porter, the lobbyist behind the so-called "heartbeat" abortion laws. Listen. 2. Paul Lendvai, author of Orbán: Hungary's Strongman, on the rise of Hungarian Prime Minister Viktor Orbán. Listen. 3. Anna Merlan [@annamerlan], author of Republic of Lies, on the long arc of conspiratorial thinking in the United States. Listen. Support On the Media today at onthemedia.org/donate.  Songs:  Dame tu Mano by Combo Chimbita Passing Time by John Renbourn The Glass House by Marjane's Inspiration Califone by Burned by Christians We Insist by Zoe Keating Green Onions by Booker T. and The MG's X-File Theme High Water Everywhere Part 1 by Charlie Patton Bullwinkle, Part II by The Centurians

Bruce Parry is an English documentarian, indigenous rights advocate, author, explorer, trek leader and former Royal Marines commando officer. His documentary series for the BBC: Tribe, Amazon, and Arctic have shown Bruce exploring extreme environments, living with remote indigenous peoples and highlighting many of the issues on the environmental frontline. Find me on Instagram or Twitter. Please consider supporting this podcast on Patreon. This Amazon affiliate link kicks a few bucks back my way.   Music: “Brightside of the Sun,” by Basin and Range; “Fern,” by Zoe Keating; “Smoke Alarm,” by Carsie Blanton.

This episode begins with Count explaining his professional background in the music business as a musician, producer, engineer, & writer. Considering that his career spans both pre and post internet revolution, he is well placed to critique the positive aspects of the internet and also the dark side of the “internet of free.” We explore the economics of creativity on the internet and how this new economy has transformed the music industry in particular, but also how this process bleeds into arenas such as journalism and retail. Count works to debunk a number of the common misunderstandings of the freedom of the internet. Count has created part one of the three part documentary which has received critical acclaim. Those interviewed within the documentary include David Byrne, Noam Chomsky, US Congressman Jerrold Nadler, Jonathan Taplin (Bob Dylan, Martin Scorsese), Steve Knopper (Rolling Stone), Rob Levine (Billboard magazine), Matt Mason (Bit Torrent), John Perry Barlow, Lawrence Lessig, and other key voices, alongside personal stories from musicians, filmmakers, authors, and creators of all kinds. Bio: San Francisco based producer, Count [AKA Mikael Eldridge], has been involved in just about every aspect of the music business. He has worked for indie and major labels, scored films, and has worked as producer, engineer, mixer, and remixer for artists such as DJ Shadow, Frank Sinatra, Radiohead, John Cale [Velvet Underground], No Doubt, New Order, RUN DMC, Tycho, Zoe Keating, Galactic, Trombone Shorty, The Bee Gees, Thievery Corporation, and many more. With his own bands Inu and Halou, Count has toured the US and performed live at shows such as Seattle's Bumbershoot festival, The San Francisco International Film Festival, the SF Museum of Modern Art, Filter Magazine's Culture Collides Festival and more. Count is currently directing the documentary Unsound, which is about the impact that internet revolution is having on all creators. He has become a vocal advocate on artist rights issues, speaking at The Future of Music Summit, C2SV, SXSW, Grammys on the Hill, and several international summits. Count is also currently involved in the C3 (Content Creators Coalition), which is helping to organize a collective voice to deal with issues affecting creators in the Internet age. Website: https://www.unsoundthemovie.com https://www.vertebraeproductions.com Theme music provided by: http://www.modernnationsmusic.com Band of the week: Inu and Tycho Inu: https://www.vertebraeproductions.com https://itunes.apple.com/us/album/not-for-anyone/373655312 Tycho: http://www.tychomusic.com https://itunes.apple.com/us/album/epoch/1154577700 https://itunes.apple.com/us/album/awake/793928184 Learn more about this project at: http://www.thesacredspeaks.com Instagram: https://www.instagram.com/thesacredspeaks/ Twitter: https://twitter.com/thesacredspeaks

Long imagined but never before realized, I managed to get one of my non-gamer friends to actually play a game and share their experience with me! My father-in-law saw me playing The Witness over Christmas, and didn't want me to leave before I set him up to play it after I was gone. More than that, he totally bought in to engaging with it at a satisfying philosophical level. I loved having the conversation, and I hope you enjoy listening to it. download Music used Escape Artist by Zoe Keating (from the trailer for The Witness)

Download | Subscribe (Free) Historically, pilgrims have been described as foreign travelers journeying to reach a destination - physically and spiritually. It's not just the act of traveling to passively see the sights and gain some memories, that's more like a tourist. Pilgrims undertake a purposeful external journey, called a pilgrimage, with the aim to bring about a profound internal transformation. Even though we are not physically on a long and dangerous spiritual pilgrimage (like the Camp de Santiago), maybe we Christians could incorporate the qualities of dedication and mindset of the pilgrim when journeying through our everyday life. What if we decided to "choose life" like Moses suggests in Deuteronomy and embrace Jesus's teachings of the Sermon on the Mount in the Gospel of Matthew. This episode focuses on how when walking with God; we are called to be pilgrims, not tourists? The "Pilgrim's Way" is not an easy path, but like anything worthwhile, it takes sacrifice, persistence, and discipline. What you will hear: > Describing the premise of being God's Tourist and God's Pilgrim > The Characteristics of a Pilgrim - Jonathon Edwards > Rev. Gibson's connecting thread of the "Pilgrim's Way" sermon message and the weekly readings > The journey of the physical and external change needs to include the total transformation on the internal > The Great Commandment > The "Pilgrim's Way" as an example of fulfilling the baptismal covenant > Was Moses and Jesus pilgrims? > A Pilgrims Way teaches a discipline to finish something > Are we all pilgrims in the normal day everyday journey of life and living > Dante's Inferno beginning introduces the whole poem and the idea of his mid-life crisis > Blindly going through life and how we quietly lose track of your own being > Poet's Way - Dante's personal quest for the search for the divine > The Pilgrim's Way dealing with the mid-life crisis > Sermon on the Mount messages and taking the hard route > Star Wars Jedi Path as an example of the "Pilgrim's Way" > The word Parish - translation of a house for pilgrims > Moses message of yes or no. There is no maybe when choosing to truly walk with God > We are all in this life together. Pilgrims do things for themselves but also do for their fellow travelers. Pilgrims travel and support each other > Zoe Keating (musician) - Beverly loves her music and how she integrates her art with technology, crypto currency, and service > The Way (movie): Johnny suggests Emilio Estevez's movie to see an inspirational movie about modern day pilgrimage on a pilgrimage. Available on Netflix. Readings Referenced:   Deuteronomy 30:15-20 1 Corinthians 3:1-9 Matthew 5:21-37    What do you think about Pulpit To Pew?
 We would love to hear what you think, or maybe what you would like us to talk about on an upcoming podcast. Email producer Stacy Wellborn at stacywellborn@gmail.com and join in the conversation. Like Pulpit To Pew Podcast?
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This one helps us a ton – seriously! Thanks for listening and have a great and peaceful week.

The Memory Palace is a proud member of Radiotopia, from PRX, a curated network of extraordinary, story-driven shows. Learn more at radiotopia.fm. Notes * Like anyone else, I became fascinated by Washington Phillip’s story through the music. So, go buy the music. * I backed into the research on this one when I should’ve just started at the source: Michael Corcoran’s amazing excavation of Phillips’ real story, as originally printed in Texas Monthly. There’s a lot of stuff that links out from his site. Music * Lots of Washington Phillips. * Starts with As Old Roads, by Goldmund. * Don’t Worry, by (Memory Palace favorite) Zoe Keating. * 1979 by Deru.

The Memory Palace is a proud member of Radiotopia, from PRX, a curated network of extraordinary, story-driven shows. Learn more at radiotopia.fm Notes and Reading: * Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website. * "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee. * June Thomas' series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com * Michael Bronski's A Queer History of the United States. * Radically Gay, a collection of Harry Hay's writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller's Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

The Memory Palace is a proud member of Radiotopia from PRX. Music * Up top, looped, is the first bit of the great, Foreign Fields, by Kacy Hill. * Then we hear some of Sun Will Set, by Zoe Keating. * The song on the radio is Sonny Thompson’s Long Gone, as heard on the Mellow Blues album. Notes * You can read all of the 1948 Green Book (and the rest of the Green Books) at the New York Public Library’s fantastic digital collection.

Enjoy the gentle rocking of this special live episode, recorded for the first time ever on a boat. Janet is joined by the immeasurably talented Kelly Sue DeConnick (Captain Marvel, Pretty Deadly) and cellist Zoe Keating (Manhattan, The Returned), who are so filled with sound advice and inspiring ideas, you’ll inevitably finish the episode and create your best work ever!

Show NotesChris and Stephen note the launch of Tidal with some skepticism, then contrast the service with what could be considered Tidal’s polar opposite: YouTube. We look at the international aspects of music distribution, and think about how youth factor in to the ever-changing equation. And, good news, there’s a happy ending. I love happy endings. Before You Go Iran and the Obama Doctrine by Thomas Friedman Music “Number One” by The Sideshow Tragedy. Used by permission. “Winning Slowly Theme” by Chris Krycho. Now with more techno! Just kidding. Links Tidal Spotify Pono Bandcamp Beatport The Piano Guys’ YouTube Page Pentatonix’s Youtube Page By the Numbers: 80+ Amazing YouTube Statistics 33 Amazing YouTube Facts & Stats to Tweet & Share 13–24 Year Olds Watching More YouTube Than TV - To The Surprise of No-one by Andy Smith Lily Allen: “Tidal Will Make Fans Swarm Back to Piracy…” Neil Young’s PonoPlayer: The Emperor Has No Clothes Why Netflix needs to crack down on foreigners accessing its US site by Leo Mirani Bandcamp Hits $100 Million Payout Milestone, Plans Artist Subscriptions by Andrew Flanagan Further Reading Jay Z Launches TIDAL As “Artist Owned” Music Service: Big On Star Power, Short On Details by David Ulevitch Previously on the show 2.03: Impervious Scale—we talked about YouTube’s Music Key product and their problems with artists like Zoe Keating. 2.10: So You’ve Been Hacked—we talked about how all industries are affected by the Internet. Follow/Subscribe Twitter: @winningslowly @chriskrycho @scarradini App.net @winningslowly @chriskrycho Subscribe RSS iTunes

Show Notes In which we look at Zoë Keating’s ongoing kerfuffle with YouTube. Is YouTube strong-arming indie artists? Should megacorporations force all their clients—customer and producer—to fit in a one-size-fits-all setup, or should they take the long view and do what is best not only for the bottom line but also for the relationship between artist and audience. Oh, and what about those monopolies and monopsonies? They might have some extra ethical responsibility, too! Before You Go LEGO Announces Doctor Who Set for Later this year FCC announces intent to regulate broadband under Title II: “This Is How We Will Ensure Net Neutrality” (FCC Chairman Tom Wheeler) The Verge summarizes and editorializes Music “Let It Burn” by Magic Giant. Used by permission. “Winning Slowly Theme” by Chris Krycho, who has been practicing piano so that he’ll eventually be able to sit down at some glorious Bösendorfer or Steinway and dazzle you with a real version of this. Links “What should I do about Youtube?”—Zoë Keating’s original post “Clarity”—her follow-up with her transcript of the conversation Ben Thompson: “Dear Zoë Keating: Tell YouTube to Take a Hike” The Guardian recaps the affair: “Zoe Keating v YouTube: key sticking points in Google’s latest music row” David Lowery on the whole business: “Zoë Keating vs YouTube: The End of an Artist’s Right to Choose Where Their Music Appears on The Internet.” Previous episodes: 1.01: Massive Emotional Contagion Follow/Subscribe Twitter: @winningslowly @chriskrycho @scarradini App.net @winningslowly @chriskrycho Subscribe RSS iTunes

In questa puntata purtroppo niente #miticodavide, per cui abbiamo recuperato Andrea "Giopep" Maderna nella speranza di riuscire a sopperire a questa terribile mancanza. Insieme a lui e agli altri s'è parlato di un po' di argomenti generici/generali, tra cui il videogioco più gay dell'universo, un incredibile pippone sull'usato, ed il problemone della DISSONANZA LUDONARRATIVA. Free Playing, sempre ludodissonante! [0:00:00] Intro, e le partite delle console vendute a Napoli [0:02:03] Il mondo della musica piange il ritiro di Paola e Chiara [0:06:55] L'ospitata nella live di Becksoft [0:07:53] Il videogioco più gay dell'universo [0:21:25] La scrittrice di Tomb Raider si lamenta dei limiti del videogioco [0:31:45] Microsoft, Sony e Nintendo: tre filosofie a confronto [0:55:45] Usato sì, usato no [1:42:54] Il disseppellimento di E.T. e i progetti per l'E3 [1:50:40] Extra Credits [1:51:35] Deadwood [1:55:35] Kentucky Route Zero: Act 2 [2:02:11] The Wake [2:03:07] L'attacco dei giganti [2:04:42] ICO [2:05:17] OUYA [2:08:14] La grande bellezza [2:09:42] Fast & Furious 6 [2:13:47] Solo Dio perdona [2:20:02] Una notte da leoni 3 [2:24:39] Cordy [2:26:32] Santa Maradona [2:28:16] Slime Laboratory 2 [2:28:59] Zoe Keating [2:29:42] kutiman [2:30:27] La storia di Yoshiki Okamoto su Polygon [2:35:31] Outro. Divagazioni più o meno degne di nota: [0:04:39] Michael Douglas e i pericoli del sesso orale [0:18:27] I sottotesti gay nell'allenamento di Rocky III [0:20:24] L'immagine messa da Stefano in chat [1:19:55] È tutta colpa dei publisher [2:15:41] La foto shock di Refn e Gosling [2:35:01] Il canale YouTube di Fabio Bortolotti. Hanno partecipato Bruno #brunodinoi Barbera, Simone #ilsaggiosimone Andreozzi, il manoscrivibile Fabio Di Felice, il grande fumettista Mirco Pierfederici, il superospitissimo Stefano "Nabucodorozor" Talarico, ed il megasuperultraospiterrimo Andrea "Giopep" Maderna. Davide #miticodavide Alexandro Fiandra ed il pennarellabile Gabbre erano come sempre nei nostri cuori. Un saluto anche agli amici che ci hanno seguito in diretta: Femto88, Desmondo, pisiupo, Matteo Beconcini, Gianmarco, Effedieffe, Babbre, Raffaelepk, Majin, littlexaus, prtruz, theSlaveX, andmind, Alberto Cappellina, Lorenzo Marsicano, Lancil9, mrKaizen, Andrea "The Benso" Vena, Lorenzo Biagini, e sonountaleban. Ricordate di scriverci numerosi in email (info@freeplaying.it): i vostri dubbi e le vostre domande troveranno saggia risposta nella posta del cuore di Simone. E non dimenticate di seguite il nostro nuovissimo fantasticissimo forum! Volete supportarci? Piaceteci e fateci piacere su Facebook, cerchiateci e fateci cerchiare su Google+, cinguettateci e fateci cinguettare su Twitter e, ovviamente, recensiteci, cinquestellateci e seguiteci su iTunes! E se siete ricchi sfondati, supportateci comprandovi il super libro di Fabio Di Felice su Amazon e le magliette fashion di The Indie Shelter!

Is there room in the music industry for middle-class musicians? Friend of the show Nancy Baym brought together three career performer/songwriters who all stumbled on the same analogy for how musicians can “make it” in the digital age: that of Community Supported Agriculture (CSAs). Kristin Hersh, Zoe Keating, and Erin McKeown discuss what models have worked for them, and the unorthodox ways they’ve learned to make a living as artists.

1 - "Vendedor de bananas" (Jorge Ben). Os Incríveis. 2 - "Primeiro movimento/First movement" da/from "Sonata para violino/ Violin Sonata N.4 , Op. 27" (Ysaÿe). Rachel Kolly d´Alba, violino/ violin. 3 - Canto Yanomami/ Yanomami indian chant 4 - Optimist (Zoe Keating). Zoe Kaeting, violoncelo/cello. 5 - "Lenda do caboclo" (Villa-Lobos). Pau Brasil & Ensemble SP.

Interview: Zoe Keating Zoe Keating (dubbed the Avant Cellist) talks about her work composing film scores as well as performing on several of Mark Isham's most recent projects. She also talks about selling music, piracy, and the threat posed by legislation like SOPA and PIPA. Episode Highlights 00:34 — Introduction: Zoe Keating 02:07 — How did you come to write for the film, Frozen Angels? 04:10 — Had you considered scoring a film prior to Frozen Angels? 04:44 — Your experience with film music 06:10 — Scoring The Devil's Chair 07:40 — Writing for dance and film 12:10 — "Music is something that happens in a moment of time..." 14:14 — Composers remorse and Art under constraints 18:54 — Working with Mark Isham 20:00 — Composing for documentaries versus feature film 24:10 — The independent artist, music biz, and SOPA Select Music 00:00 — "The Last Bird" (The Ghost Bird) by Zoe Keating 10:40 — "Sun Will Set" (One Cello x 16- Natoma -) by Zoe Keating 18:03 — "A Genuine War Hero" (The Conspirator - Two Disc Limited Edition) by Mark Isham 20:27 — "The Last Bird" (The Ghost Bird) by Zoe Keating 21:37 — "Patterns" (Johannes Kepler [Play]) by Zoe Keating 36:15 — "Sun Will Set" (One Cello x 16- Natoma -) by Zoe Keating Download the episode here Subscribe and more info here

SF MusicTech Summit IX on September 12, 2011 in San Francisco. Panel Discussion. Moderator: J Sider, RootMusic (Founder / CEO); Jack Conte, Pomplamoose (Multi-instrumentalist, Songwriter, and Filmmaker); Zoe Keating, Cellist & Composer; Lincoln Parish, Cage the Elephant (Lead Guitar).

Plenty of new and creative music on the Signal Podcast this week. While you'll hear new songs from David Martel and Carnival Moon, there are still some great familiar pieces from Zoe Keating and Montag.

Jad and cellist Zoe Keating discuss the physics (if not metaphysics) of looping sound and how to use a 17th century instrument to make avant-garde electronic music.