David Scalise

There is no greater a stumble than an Ostrander introduction of a guest.  No helping hands from Gleason or Haberman, either.  Our guest is stranded on an island of poorly phrased questions, out of touch follow-ups and frequent misdirects.  Our guest David Scalise follows a trend of well-informed, star powered teachers.  He handles our poor hosting with ease and a great laugh.  He is part of the fabulous Apple Valley music program in Minnesota.  David leads the award winning Apple Valley R&B band, and many other groups at the high school.  He has had a wide ranging successful teaching career and is the model for meeting students where they are.

Learn more about David & the Apple Valley Program here:

https://www.youtube.com/@davidscalise8985

https://www.avrb.band/

https://www.youtube.com/watch?v=17AopbAxLR8

https://www.youtube.com/watch?v=pG9xAxaMae8

https://www.youtube.com/watch?v=5MMd3iM-_h8

There are a million of these videos - all great.

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Transcript

SPEAKER_07 0:08

Hey computer. Before we get started, we should probably acknowledge something important. Somehow, after four seasons of podcasting, we still have absolutely no idea what we're doing. What? You would think by now we'd have a polished intro, a clean workflow, maybe even watching audio levels. Instead of every episode still begins with at least one of us asking, wait, are we recording? While another person accidentally talks on mute for three minutes. At this point, our production strategy is basically held together with caffeine and optimism. But despite all of that, or maybe because of it, you commuters keep showing up for reasons that we still can't fully explain, you continue to listen. And honestly, we appreciate more than you could possibly know. So before we dive in, if you enjoyed the show and would like to support our ongoing quest to eventually sound like competent adults behind microphones, consider becoming a subscriber using the support the show link in the show notes. Because after four seasons, this next clip is apparently still the best we can do.

SPEAKER_03 1:22

It's still recording. It's not recording.

SPEAKER_07 1:25

It's not shut it up. Oh no, I didn't. It's still going. How are we doing? Will we ready to what's going on to work? I got it working now. I got it working. I've been gone for a couple days. I got things working now. Here we go. I'm ready. How's that chlorine smell going? Oh, we are so close. Can you feel it, boys? Can you? Can you feel the energy? Energy emitting from Hot Spine Art Center. Bill, what happened? Another electrical fire? I heard you ate lunch on a park bench or something. There was another fire?

SPEAKER_06 2:14

Yeah. Peter, we had a reoccurrence of the special. Stained thing? But it was during my rehearsal this time. Oh my God, tell me more. This is the best day ever. So it are all right. Okay. I will tell the story because it's pretty good. And Chris, you can interrupt me if you want. But uh we got like all the people that have been admitted to Eau Claire making their final trip to like seal the deal. You know, they're all sitting in a rehearsal, want to, you know, they've already pretty much decided, but you know, they're there and they're checking it out. And we're got a student conductor up there, you know, blitzing through something before we get to the bassoon concerto after that, and it's going great. And all of a sudden, all the lights start to do like disco. They just flash on and off. Yeah, it's like strobe light. Yes. And I we sort of I sort of turn them off and turn them down. She continues to try and rehearse through this, which is even better. Uh, so the band's still like limping through this piece. And I found that if you turn the lights down dim, they could still see a little bit and it would we could keep rehearsing. So we did. And then we got to the end of that segment and the lights went out completely, except for one. So then I was rehearsing this bassoon concerto, which we really needed to do uh because it's the last rehearse before the show, basically. And uh, so all the kids got out cell phones and uh they were they were sort of lighting up their music with cell phones. Resiliency. Resiliency. I'm proud of you, Philip. Did it. Uh and then that the building closed for the next like four hours right afterwards. So was there actually a fire going on, or was it just the lights were flickering? You know, there was a it smelled like fire. I just chose to sort of not stop the rehearsal.

SPEAKER_07 3:56

You did you oh my god, this is the best you are. So there was a fire in Haas.

SPEAKER_06 4:04

Where would it was it in the theater? No, I think somebody like burned some popcorn or something over in the art wing. What? Why would that they cut off they cut off all the power? Oh right. But they but they did the alarm wasn't going off the whole time. No, no, it was not. So the alarm was going off. Just okay. But the power was working because of said fire.

SPEAKER_07 4:24

Right. So eventually all the power went off. Okay, but tell me though, Phil, please tell me that the apron of the Gantner stage is fine, though. Can is that fine? Yes. Okay. That was preserved remarkably. I mean Stay. Anyway, that's it makes me feel a little better that you still rehearsed for that long. Uh in because you needed to be. Good 20 minutes. Solid 20 with cell phone light. I just I needed a minute and a half. I needed a minute and a half. We were 15 seconds in. I knew we would be fine. And turns out I was wrong. But we were fine. We were fine. Yeah.

SPEAKER_06 4:58

Eric Schultz cleaned out that clarinet, though. He didn't leave until he had that clarinet all cleaned up. I told I told your story to the band while we were in a power outage. You still kept them in the room? I sure did. Because there was no fire alarm going off. There was no fire alarm going off. I didn't know. It was not going off.

SPEAKER_07 5:14

I would just say I would do the same.

SPEAKER_04 5:16

But then you told them the story, and did they there's still no extra door in that room, right? Is there a door out to the is there still only two doors that go into the same hallway? Yeah.

SPEAKER_06 5:25

Well, there's one on either side of the room.

SPEAKER_07 5:27

Yeah, but like there's supposed to be a door that doesn't go to the same hallway. Let's move on. Yeah.

SPEAKER_06 5:32

No, they added a slide. Chris, what's the countdown? How how are we doing the countdown here?

SPEAKER_07 5:37

It's real, it's intense. You should be sweaty. Uh I talked to Professor Kirchhoff today about his plans for his uh his journey over.

SPEAKER_06 5:49

You had to reconvince him that he was actually going to fail.

SPEAKER_07 5:53

He said he would call me in the midweek and let me know. Uh what if he's gonna come on Friday and work with some uh groups and some uh rising music educators, or if he'll come on Saturday. And uh I said, hey, you could ride right along uh sweet Jimmy Hobbs here, and uh you could do duo uh clinics. How fun would that be? I'd be honored to give him a ride, although it would be the most awkward conversation. Well no, he'd have a good conversation eventually, but it would take him a while to get that introversion out. I can't wait. It it it's gonna be it's gonna be a lot of fun. I'm looking forward to it. Hey, I I got to go uh participate in another festival down at Illinois uh State University with a fabulous person. Uh the director of bands there, Tony Marinello. Have you met Tony, sweet Jimmy? Yes. Yeah, Tony's a good guy. Yeah, we should get him on the show at some point. He's he's fabulous. But along with Tony was Jason Nam, who's at Indiana, Mary Schneider. Sure, Eastern. Yep, you got it. Eastern, Ben Styers, uh, who's uh percussion music theory there at Illinois State, and then Randy Sundell, who was at Vernon Hills for a long time, and then Brer Teague, uh, who was at Downer's Grove. Why did they have now at Elmerst? I know I did not fit at all. I was no, you did not. No, not at all. I was not in the right space.

SPEAKER_06 7:19

Were you there to like help help move percussion equipment?

SPEAKER_07 7:21

Was that your job? I did. I was motivated. I was actually asking pretty much motivation. Come on, guys, just keep going. Play something harder. It was fun. I had a good time. But Tony invited you down. Tony did. Tony's a good man. Tony is a good man, and uh right. I hope their festival doesn't end now. Uh it might be the last one. I hope I didn't end that for them because that would have been.

SPEAKER_06 7:46

Did you suggest moving it to a water park?

SPEAKER_07 7:48

Um that's always a really good idea. I'm just saying I had some, yeah. I I offered all of them. I said you can come on up to another festival. It's very similar. Do I have to stay in the room with Phil or do I get my own room? Um No, you do get your own room. It's the bathroom in Phil's room. That's your special little spot. I knew it. I knew it. No, I got you both the luxuries.

SPEAKER_06 8:10

Peter, it's gonna be great. No, I got you a snuggle.

SPEAKER_04 8:12

It's gonna be awkward.

SPEAKER_07 8:14

Um it will be great. I'm excited. I'm but I'm working both days. That's like my um my penance for only being able to be there for like one day the last two years. So I said, I can do whatever you need. And it's like Thursday, Friday, Saturday. He's just got me locked down. Doing I'm already stretching out already, just like ready to meditate, just 30 seconds of silence somewhere. Okay, you ready for something else that's really frightening? I've been asked to do one of the rehearsal labs for Midwest next year. Oh my god. You are going to you're gonna get up. Oh my god. What's the band? What band are you working with? I've asked Rachel Maxwell's band to come perform, and she said yes. So she's gonna bring her little uh middle school band there and acre band. We're gonna we're gonna do some stuff. I think we might start uh with a piece called Fun Tango, and I'm gonna talk about how to make it fun. Never heard tango. Okay. Well, you're in for a treat. Are we ready to pivot, people?

SPEAKER_04 9:12

I am uh there's so many things I want to forget about that have just been said, so let's let's pivot. Now's a good time to pivot.

SPEAKER_06 9:18

I thought that's right. When you there are yeah, okay the future is uh that's gonna be a stage.

SPEAKER_07 9:24

That's gonna be a show. I can't wait to be there. I'm gonna be in the front row. It's gonna be great. I'm gonna bring lots of Legos. Keep going, Phil. Let's go.

SPEAKER_06 9:32

Here we go. Uh so our guest today, uh favorite job outside of music education would have been or is uh being an unlicensed forklift forklift operator. Unlicensed. Well, unlicensed. Yes, right. We get under the table. Um our guest prefers to complete pewter computer tasks using only keyboard shortcuts. And our guest secretly aspires to be a boat captain. Little boat, big boat. These are these are important things. Our guest does play trombone, so we are breaking away from the tuba habit that we've had. But we have not ascended far. We have not ascended. Not only trombone, but bass trombone. Look out. Careful. Everyone's gonna do it. And now I'm just gonna give it all away. Our guest uh is the instrumental music teacher at Apple Valley High School at Apple Valley. Oh, yeah. Uh his duties include running the jazz ensemble program, directing concert bands, teaching individual lessons. He founded and directed the Apple Valley High School RB Band, a unique school ensemble that performs classic soul music from the Motown and Stax era. In addition, he's also the director of Broadway, a multifaceted annual music production involving 140 plus students from the Apple Valley uh theater, tech, vocal, instrumental, and dance departments. Our guest holds a BM in music from St. Oliph and a master's from Case Western uh Reserve University. This is David Scaliti.

SPEAKER_09 10:57

It never felt so important. Wow.

SPEAKER_07 11:01

Yeah. Very important. Thanks for inviting me. That's right. Okay. It's not a lot of honor either. Just gonna say that. A lot of regret. Regret, not as much honor. That's amazing. A little bit of pity. Yeah. Wow. Welcome. Welcome, welcome.

SPEAKER_09 11:18

Thank you for having me. What was home? No, well, Peter. Good question, Peter. I uh uh I I've lived a few places, but I started uh uh my musical journey. Uh in I lived in Shoreline, Washington, just north of Seattle. Yeah. Um that's where I stiff we moved there when I was in fifth grade. So I know it's not far from where you used to teach. Uh Rooster Island, that's right. Yeah, but yeah, I went to Shorewood High School um while I was there. Um experience. Yep, exactly. Yeah, we did the essentially Ellington thing. Uh Paul Harshman was our director at the time. Yeah, it was uh it was a it was a good deal. And then I my my mom grew up in Minnesota, and so I had family out here, and so St. Olif isn't that far away um at the time. Granted, I'd only visited in the summertime. Uh but uh yeah, here we are. Um and then I uh yeah, while I was at St. Olif, I met a a lovely lady and now I'm still in Minnesota. So yeah, before yeah, so taught at Cannon Falls High School for a couple years, and then uh my wife was doing her doctorate at Case Western. And so I hitched a ride out there and uh taught at a high school in Akron called Coventry uh for five years, and then uh we moved back to Minnesota. So yeah, it's been uh and was lucky enough to land at Apple Valley then an opening, and I was like, oh, let's go.

SPEAKER_07 12:43

Lucky for them. Lucky for them. That's cool.

SPEAKER_09 12:46

It's been a it's been a perfect place.

SPEAKER_06 12:47

So yeah, I think your students would probably say that uh uh uh the similarly they're glad that you're their director, that's for sure.

SPEAKER_09 12:56

I hope so. I hope so. I do I do say no more than I'm older now that I'm older than when I started there. You know, that's uh the the the evolution, but yeah, had a great time there and had some really great students that some of whom are in your college ensembles uh right now. Yeah, Victor Evans played in your R and B bands. Yeah, Victor Evans, yep. So and I I know I'm sending a really good to Eclair up your way. Avery Zic's going there next year, so yeah, and I I've heard it was Emily uh filled that uh uh pointed you my direction for the podcast. So yeah, I have I have had a long string of students go to Eau Claire. So so many great, great places in our community for students to go.

SPEAKER_06 13:39

So yeah, but I've seen you teach, and you have students at all ability levels and all sorts of backgrounds from beginners to been playing for the last eight, nine years, yet somehow you manage to motivate them all to practice. And I'm like how do you do that?

SPEAKER_09 13:53

Yeah, great question. Um yeah, fear, all fear, yeah, old school like that, because that works with children, uh this generation. Uh I I think it's fortunate in the in District 196 that we teach, that I teach in, um, right away from the middle schools, um, don't have a large instrument storage uh room. And so all of them are designed smaller than they should be. So they make their students take home their instrument every after every day, right? So they rehearse every other day. And so they have to take it home. Plus, you've got to practice. So they come in trained to take their instrument home, right? Whether or not they're actually practicing at home. So like that first hurdle of like getting the instrument home, uh, is like taken out of the way. And then the second hurdle I try to really coach in my lessons is just take it out of your case. You take it out of your case when you're at home. You're probably gonna you want to play something, right? We that's that spark is why you're still signed up in high school, right? When then maybe you'll want to work on something. Whoa, what's what should I play? Well, my lesson book is here with me. Um so and it my teachers circled all these excerpts and gives me metronome marking. I know exactly what to do. So part of that, part of that helps. I think you know, I think also trying to find performance opportunities that are meaningful so there's some sort of connection. Um, you still talked about the R ⁇ B band thing in my in my bio and that like finding some sort of like opportunity to either be to be in something out outside of just your lesson room or just your um just your regular concert cycle for your concert bands, I think just adds an extra just uh you know connects with a kid who might not have been as motivated uh for the other stuff, right? So just trying to find a variety of ways to you know to play and be a part of the community. So I I think all of that that's what sort of puts it together. And then we also grade lessons. So there's there's that little thing too, but you know, like sticks and carats, sticks and carrots. It's right. Yeah, you know, exactly. It's it's both of those things. I think about like I, you know, I had a great musical education, except I didn't have I didn't get graded for my lessons. It was whether I show up, you know, showed up at Kennelly Keys with my trombone having practiced, right? You know, like Kennelly Keys, there's a D. Uh and yeah, so like I think about when I get unmotivated to push my students, I think about what I could have achieved if I had someone that spent time that took that extra step and didn't just let me glide by. Uh and so Yeah, yeah. I think I think those are those are some of the factors that go into that.

SPEAKER_06 16:33

So I mean, you go you gloss right over that R and B band and you shouldn't have because I mean the group is the group is awesome. I mean, it the students look like they're having like the time of their lives, plus you're you got a huge cross-section of different like parts of your student body that are in that ensemble, right? Yeah, yeah, yeah.

SPEAKER_09 16:52

It's uh it's really cool. I think like I started as like you know, like as as uh public music educators, we get contacted all the time from the TV. Can you bring a band to this? My grocery store's opening. Okay, you know, like I'm like, well, I don't want to like haul a bunch of kids to play pet band tunes there. Like that doesn't seem meaningful or authentic, or it doesn't represent any other digging opportunity that really that you'll have for the rest of your life. But like playing in a cover band, that's like a legit thing that you can do. After uh, you know, and so I I remember like so that's why it's sort of continued, but uh, you know, it started when I it was the end of my first year at Cannon Falls High School, and you know, I was this, you know, how do I say this? Uh a you know, naive, uh, you know, really eager teacher, fresh at a small like, man, making art is do it for art's sake and for fun, you know, like let's really do this. And then I had a great first year and came to the end, and I'm talking to all these students about how they're never gonna play again, right? You know, they're putting their instrument away, you know, and I was just like, wow, how do I I gotta find some more ways for these students to like see music outside of what our school, you know, traditional programs offer. And so that was the first year uh that we did that. And then this group, like I've all we don't do concerts at our school. We do them out, right? You know, we've got a got a gig at Krooners lined up, one at uh Bogarts this year, uh, you know, concert summer concert music series and that kind of thing. So it's like a set of vocalists, and it's a really great opportunity for us to uh, you know, work with our vocal colleagues as well. So I've got a set of vocalists that that's that sing for us and then a horn section and a rhythm section. Uh it's just a ton of fun.

SPEAKER_07 18:41

Okay, now let's Oh, there you go. That's fantastic.

SPEAKER_09 19:05

It's pretty cool. That's pretty fun. Yeah. And it's just and it gives us a chance to, you know, interact with with this, you know, style of music that you know we don't necessarily get to interact with as authentically usually in a concert band or a pet band. You know, we still we still do, but it's like, and this is you know one of the groups where the director is not up there, right? I'm not right, I'm not doing anything, right? You know, and so like we we coach for my master's thesis. I did a like a deep dive into the informal learning practices by Lucy Green um out in the UK and some of that radio Altsop stuff. And so I just remember being really inspired by like, oh, there's more, you know, than uh um than just what I was brought up with. And so I it was just a really cool sort of sort of synthesis, just finding a way to insert it into our program. I think a lot of people get in my position get caught up with, you know, well, if you're saying I need to change, change how I'm teaching, well, am I gonna throw the baby out with the bathwater? You know, can I do I need a holistic change to no, this is this is part of being a musician, you know? It's like there are in there are multiple opportunities, especially in a you know, at a public school, for you to do all of these kinds of things and it doesn't have to be done, you know, you don't have to completely separate yourself from you know the things that have been working um and the traditions that, you know, clearly as music educators that are all, you know, we went through that system and now we care we loved it so much that now we want to teach other people in that system. You know, we we can modify it to start to bring in things we don't have to like completely let it go, uh kind of thing.

SPEAKER_07 20:43

So obviously gigging musician are, but like why the R and B band wait seen Olaf doesn't have when you didn't do that out in Shorewood. Like how how did how did you well, how was this the way for you?

SPEAKER_09 20:53

Well, I I think I one, I wanted to find I wanted to find music that typically incorporates horns, right? Because then getting your arrangements um to include, you know, like so for this other show that we do a variety show, right? We just covered uh a K-pop demon hunter song, right? Uh a takedown, right? And then I I wrote that chart out and it was so hard to get to sound authentic, right? So like I'm pulling sample, you know, going through all my sample libraries with the keyboards and you know, and pulling drum samples because it doesn't sound the same, but like I wanted something that should still cross over pretty well. So I think the the RB band piece was that. And also I just like I love a horn band. Like, yeah. So yeah, it's just yeah, and it's so I think that that's also the tug in in I think in music ed in general is like how do we create more chamber ensemble aspects when we were pushed to do have experiences for more and more students, right? And so this was I think sort of a a compromise in that route. Yeah, and I think I you know, part of it when I was in Ohio, I I had a lot of students that weren't motivated to do jazz band. And so I like trying to find like something well okay well if you want to be in the R and B band you know we're playing uh you know uh a Nicki Minaj song but you have to be in jazz ensemble too. And so like there was this like you know I I think there they it allowed it allowed for the best crossover and what we already have. So I think that that was the and it was fun right I at the end of the day I want to create experiences that I would have signed up for. I'm like man I would have been chosen to be in this group totally whether or not I would have made it that's another story.

SPEAKER_07 22:30

Well we just we we have lots of people that uh like you came through a very traditional program had great teachers and even in college didn't necessarily do a lot of you know cover bands or things like that or and are are teaching outside of what we might call the traditional uh box which is great and I mean I I just found myself in Russia Island with all these steel bands steel drum bands which I was like oh okay um and I just you just learn it and go and then you realize oh this is such a this is just another avenue to grab more students that maybe wouldn't have been grabbed the first way. Absolutely um it kind of takes a little I mean maybe not initiative or uh confidence but it's just like well I'm gonna learn right alongside you let's go do this and uh I think it's really um wonderful and whatever your community is mariachi or whatever you can find that resonates with your community you should totally go get them and now a message from our sponsors concert night you've studied your scores you've thoughtfully chosen your baton and outfit the value of the instruments on stage is nearly priceless you represent the composer the musicians and your institution behind you in the audience are your peers, proud family members, community and even potential donors. My question is this are you standing on a squeaky, mass-produced podium that was bought long before you arrived? I know I've stood on that podium. A conductor's foundation should match their artistry. Well I can tell you I'm not on that podium because I have two of these silent stage podiums which are gracefully designed to complement the instruments but not extract from the music. They're built with American oak, elegant brass railings, sound dampening rubber backed carpet and velvet red, and steps on both sides which fold in easily for a smaller footprint when needed. Each podium is delivered in a street rolling case with a podium just five backstage bumps, dust, or even like we take these long ensemble tours commuter elevate your presence with silent stage podiums stay with me silent stage podiums find out more at silent stagepodiums.com now back to our show what a still still steel bands are fun.

SPEAKER_09 24:40

Yeah yeah you gotta know your SOCA uh stuffy yes you do yeah I I did one of those yeah when when I taught an acronym there's a steel band uh steel pan student it was like a few blocks away I got a grant we bought steel pans we also offered an elected you know there's there's so many options out there it's hard it's hard because schools don't always you know schools are looking at staffing and at numbers rather than at what you know so I'd like to to think about what's not gonna make me burnt out while I'm learning this you know while I'm running this but steel pans are awesome because literally they have the note name written on the part where you hit right so like you know and it was it it turned out to be a really great when I was I did that for five years it was a great crossover for you know our our our special ed students as well because there are all these auxiliary instruments we could be in we could get a set groove for a while get them in the kitchen there it was just yeah exactly you put them in the kitchen very good um and yeah so there's just so much to do you don't have enough time to do it all but uh yeah yeah just trying to I think that that has sort of been a theme for me over my uh you know career has been like just trying to find places where students are gonna succeed. I love it David yeah and so just put them to practice too.

SPEAKER_07 26:00

No question. I did uh David actually before we go on can you look on the on your screen and on the right hand side it's gonna choose your microphone. Yeah try yeah try choosing your earbuds because sometimes it gets fuzzy or something like that. I'm gonna just see if that yeah oh no totally because I think it's coming out of your iPhone. Look at you you are like a producer over here. Well you know I have jobs. Impressed you found that but it's not letting me change it.

SPEAKER_06 26:29

It is changed it changed.

SPEAKER_09 26:31

I I I took my phone out of my pocket. Oh that's why for now it's right here. Yeah it was recording from my pocket. What you're a lot clearer now okay well that's good it'll looks like I can change it here too. There you go. There you go.

SPEAKER_07 26:47

Sorry about that gentleman no it'll be fine. You're more technologically gifted than I give you credit for I mean you didn't sign my check last year but you are technologically gifted. I put a sticky note on my thing sign checks it's right there. Okay so wait you guys are getting paid what oh no no no no not here not here not here no no in general no no in general no we're not no anyway hey David question for you is what have been some of the positive unintended consequences from doing the RB? Like what how has it impacted the rest of your program?

SPEAKER_09 27:25

Yeah um okay so I would say it's really public facing so some people who have not paid attention right or it also breaks sort of expectations of what a high school music group can do. All right or uh and so like just all of a sudden it's it's like wait a second you you can do that like in a in a group and so I think it's brought a positive attention to um to our program outside of just it like stands out right you know you don't you know everyone's got a pet band you know at the basketball game but well wait a second they can go do a gig at this club and you know like what what is happening there? So I think that's been a positive um there's a really we have a strong uh how do I say this the it's called Broadway it's the variety show um that we have like oh I like 50 some singers our jazz bands do the do they accompany we pick a theme audition dancers and singers we have a tech crew um you sell at shows we have like six shows that we do um and a lot of I always try to find some crossover between that I can use for the RB band from that show so that we have sort of like a a continuation of that program and our students like like love like the community and the collaboration that happens but especially between our dance department or our vocal department and our band department. We're all part of this really special thing that is a highlight in our community. And so like I think it's sort of like an extension of that into the summertime. We usually start the RB band that we just started last week with rehearsals. So like after jazz band's over we start up and then we do all our gig most of our gigs in June we end with a uh ever since COVID we've been doing a parade float on the back of a flatbed um in a generator and we do the R V band and that's the end of our season. You know the the Apple Valley High School band was in the 1976 parade uh right before the school opened that same year. It was the very first thing is uh you know they got a band together and we're in the parade. And so it you know that's 50 years ago and we're celebrating that actually next weekend we have a we have a ceremony that's happening now. Jocelyn Hagan composer uh we commissioned a piece from her that the the choir and the band are playing um at this and you know we'll yeah we'll do we'll do uh we're doing with heart and voice that was commissioned by Apple Alley High School in memory of the 25th uh year Scott Jones did that while he was here so it's just like there's just this like circle around our commun and celebrate our community kind of thing right there you know the the people that run these summer concert series like in your community are usually community and business leaders so that's also another like unintended you know side side impact right oh my gosh it's so cool that you come and do this I had no idea you know okay well you know we need funds what what do you think about donating you know like this the the gas I had to pay for the gas in the van to get here you know like so just like little there they're just always like connections that are made through through these experiences and yeah it's a little bit more time and work but it's worth it that way and then but at really at the heart of it is like the students get a lot more independence in a group like this than they do when they're in any other group. And so like I don't count off a single tune right I don't make any I mean it's just like it's so cool. And you can like I've incorporated student sound technicians into the deal and they learn how to wrap a XLR cable or what an XLR cable is. You know both both are like like all these things that like you know and like we're gonna you know we try to teach them you know the person who's gonna get hired back is the one who stays and helps back up right anyone can play that Barry Sachs part but can you make it the right person and you know chip in at the end of the time you know there's just there are the other soft skills too that our students are are learning while they're in these groups. So that just make them awesome human beings.

SPEAKER_07 31:28

Not that they aren't already but even more so well but the connections you're making between I gotta play one more of these guys listen to this this is unbelievable I mean are you kidding me that's folks that's high school okay that's that's good dad is unbelievable I'll put the link in the show notes but you gotta check out the work they're doing. So you're connecting with vocalists and you have a dance educator part of your school too.

SPEAKER_09 32:11

I mean we are just it it is so cool to work in that collaborative environment. Yeah I've been work like uh fortunately we a few years ago we hired Reed Larson is his name he as our one of our choir directors he's uh a University of Wisconsin Eau Claire graduate yeah all right uh but uh you know he you know he had a he had a pretty strong show choir background before coming here and he writes a ton of charts for us too so he's been coaching a vocalist for the last few years and it's just it's just such a cool opportunity for us to talk to like coach authentic you know all these styles are different right and this is just an opportunity for us to be as close and as authentic um to that style of music as possible so yeah so we just listened to Uzo her name's Uzo she went to Harvard she was pretty crazy so if you kept listening I yeah yeah the alto player in there went to Juilliard it's that was a stacked band too so but yeah that was pretty cool.

SPEAKER_06 33:07

Very cool.

SPEAKER_09 33:08

Yeah.

SPEAKER_06 33:08

So we we glossed over a little bit but I wanted to just spin back a couple more years like two or three um into uh when you were growing up in Washington uh was there a pivotal moment where you you knew the music thing it was gonna take for you?

SPEAKER_09 33:23

Um yeah great question um okay so we've all done those uh uh go to the gym and have uh your fifth grade band your eighth grade bandorama you know high school panorama panorama bands whatever you want to call it but I I I distinctly remember as a fifth grader it wasn't even at the concert it was walking in to the concert and I had like you know I had my trombone my old rusted con that we rented and and I and I had to bring my music stand and I'd be like man I I'm gonna go meet some new people today right and and it was in a situation that I felt safe going into you know here I was a fifth grader you know my I didn't know what was going on with you know with social stuff was more complicated my body was more complicated right all these things but it was a situation that I went into and I knew my role that I was going to be there and it helped me facilitate meeting people and and I just remember thinking wow it'd be cool to sort of be part of this in some way I had no idea what that meant at the time but I I remember that honestly being a a moment where I knew it was sort of like I I could see myself doing this right in some in some way. And I and I think that that that theme is sort of it wasn't like getting to play the best you know hot cross buns I'd ever played but it was the the the community and the human interaction and I think that's what's allowed me to like stick with it right because it that is the you as a teacher you spend way more time dealing with the human interaction than you do with the actual music.

SPEAKER_04 35:03

And so the human interactions when you talk with your students and you like try to connect them to the music to that.

SPEAKER_09 35:10

Yeah or yeah even if yeah yeah it's so like yeah yes absolutely how you say hi to people when they come in your room right even if there is you know I've noticed over my career they don't say hi back as much anymore right gotta get the phone yeah I gotta get the phone time in but I'm there and I'm gonna be stable but then there's they know what's supposed to happen when I step on the box right we're connecting when when we breathe together you know like there's just there's so many like um procedures that allow us to be part of a community and a team when we're in that room. It's unlike anything else I'd ever done I've ever done right um and so that was the that was the hardest part about you know when we're in the pandemic phase right is we didn't have those procedures and those places of meaning where we were together as a community. And that that was you know yes we can push ourselves on our instruments which is great. Like that's where I think it starts right as like I want everybody to be an independent musician but we didn't have what music is which is a coming together of you know of sounds and of people.

SPEAKER_06 36:16

So yeah. Awesome wonderful um if you could go back um that we'll skip ahead a couple more years to when you started teach another two years.

SPEAKER_09 36:27

Yes, yes yes to when you first started teaching um was there uh something that you might um advice you'd give yourself uh when you first started there you go there you go proud of you yeah um okay I would say I would say it's okay that you don't know everything right I think as a as a as a new teacher we're often placed that's like so much we don't know and I think a lot of a lot like we have to be um we have to be ignorant of that to a certain extent right we can't control everything we don't know everything we gotta experience that but I think it's okay that I think because it is with other people right you can't control everything that's happening. What you can do is continue to be warm and can continue to demand warm demandingness right you can have that that scale and I think that's probably what I would coach myself on most is like trying to find the scale between you know how warm you can be while still being demanding right you can do both at the same time um having and so yeah as in as a new teacher especially at a high school level where these some of these students aren't that far away from me you know age wise you know I still remember like I had I wore a tie every day my first year of teaching because I didn't want to be mistaken for a student you know in the hallway like I wasn't I wasn't gonna have that you know and so like I like trying to find that balance and that students do want to be you know structured demand you know they do want expectations placed on them um while at the same time having you know a safe place to land when it doesn't happen right and so that was I think a balance that I know I know I struggled with and I I know I see a lot of newer educators trying to find that. So I think that that's probably the advice I'd give myself. Love it.

SPEAKER_07 38:22

Um funniest story from teaching that you could share on a public forum such as this oh my gosh um I mean we learned about Phil who just uh yeah I was just I've not done I've not done that.

SPEAKER_09 38:37

So okay well second year of teaching we did a we would do a Canon Falls we do a Memorial Day parade. I don't know if they're still doing it or not but we'd start at um downtown Canon Falls in march to the cemetery across the street from the high school um then we'd sit down and do a little playing there. There'd be a uh an Abraham Lincoln reenactor like the whole bit you know at Gettysburg Address on Memorial Day in the cemetery play taps um and all that kind of stuff. And so like my second year I was like I've got this figured out right there's a small gate that I've got to get the whole marching band through right we did a little collapsing thing from the street parade single file all to you know all to the cadence it was beautiful. But what I forgot to do was order the bus that was going to take us to downtown from the high school like we all met at the high school so instead you know it was a it was a oh so I'm just there on Memorial Day, right? There's no bus drives that I can call like no one's working so it's like uh so I was like well I guess we're gonna march to downtown so why not the parade just got longer so I think that was like I played it off real cool but like in my in retrospect like I was so screwed. I was so screwed I had completely forgotten um to do anything on Memorial Day on Memorial Day.

SPEAKER_07 40:05

That's good that's a good one new teachers always order the bus and yeah yeah yeah so what uh what's an unrealized goal for you? What's something that you want to still get done here?

SPEAKER_09 40:16

Uh uh great yeah I I think you know as a as a millennial we're we're all looking for worth life balance right and I've sort of given up on on it to a certain degree uh but uh but I but I think you know you know when when I became a music educator my hobby music became my job and so trying to find right my to define joy in in music again right has been I think is currently something that I'm I'm trying to work really hard at doing right I used you know it was music was the thing that I used I used to go to you know to find comfort and to find personal growth and challenge and there have been times when I've been able to reconnect with that um throughout my career but you know it ebbs and flows. So I think I think that would sort of be a goal is like where where can I find time music um as a as a music educator myself that has you know a family with children and you know you know a lawn that needs to be mowed and all that kind of stuff too. So uh one thing we're doing this uh we're doing this summer is uh I put together I'm trying to put together a uh a staff band to do a gig with the R and B band. So if you know in our district we've got all these great players and so I'm like um you know I can I can chunk around on the bass guitar pretty well um so maybe I'll do that with some of them or we're gonna do a gig with the R and B band. Sarah can play keys. You know yes exactly exactly and so like there they're there so many you know like the whole point of this is like well music can be more than what what you're doing you know it can be more than just you know in the band room. And so I am yeah so I'm trying I'm trying to find some ways there my my kids play instruments now right uh you know but maybe there's a can you know but they don't like to practice with me right now. So that's that's another story. But uh my youngest just started she's in fifth grade and before you know I was talking with her about like how like what you know what instrument are you you interested in trying you know they get to pick like three and then rank them and I think she's like she turns to me very seriously I was like dad which one's the easiest and I was just like oh man this is going to be a long this is going to be a long time long road we have ahead of us. And and so yeah so we'll we'll see we'll see where where we can find connection did you say the oboe the oboe and the clarinet yeah no I said French horn I said french horn because I think there's there's a middle ground there.

SPEAKER_07 42:55

So uh but uh yes oh I love that exactly I do think that's super important. I do think um finding a way to express yourself musically if you came to it from that yeah really helps with this burnout I see going on and at the collegiate level as well, right? I mean there's got to be something musical that you look forward to because teaching music isn't musical for us. It's the you know it's the way we and I just think that's so important to I see people give that up and I I did in many ways um but now working with Encore has really given me some more juice behind that and it it's like getting my horn out again.

SPEAKER_06 43:35

I I really have found that to be joyful. So good for you.

SPEAKER_05 43:40

Yeah okay.

SPEAKER_06 43:40

I have one more serious question then we'll get silly I promise. I mean your students rave about you. I mean they all just think um well you've facilitated such an experience for them that they you know music for them will be for many of them um life lasting so um I what Without uh uh uh sort of steering anywhere you don't wish to steer, what are some of the challenges that face, you know, Apple Valley high school, like your student population? Like what are some of the challenges you face? Because some of our listeners are thinking, like, oh, this guy's got an R and B band, he's got a successful jazz band, like 96, you know. Absolutely. You know, I'm sure there's challenges.

SPEAKER_09 44:23

Yeah, there's some really like we're okay. I could pontificate on this for a while. Um, but um, you know, I mean Apple Valley High School where I teach in our district, like we're we're uh I don't know, when I started, we were the fourth largest district in our state. And I know we're forecasted to like be the largest in not too long. Um a lot of it has to do with like suburban growth out southeast of our school district, so like towards Rosemount um and Coates in that area, and there's just a bunch of houses that are forecasted to be built there, and so you're gonna have a lot of that. But our Apple Valley itself is all like landlocked, sort of, with uh new growth. There isn't a new building that's gonna happen, so it's a lot, a lot of houses from when Apple Valley was first developed. And so our the the houses are turning over now, and so the how you know, and so we're getting our population has changed drastically from you know 20 years ago. We have we're majority non-white now. Um, and so it's hard to how do I say this? Hard to keep students in our program whose families haven't been through a program, like a traditional high school program, right? And so, like, what is this? You know, and so that, you know, and so there's only so much you can do, but like, and I think you know, our district has done a really great job of getting instruments in students' hands, right? So they're having that experience, especially at the beginning of the, you know, in fifth grade, there's no barrier to you getting an instrument. We have a program called Band for All, where uh you take donated instruments, right? And yes, yes, so Josh Becker's running that right now. Started with like Angie Wyatt. I don't know if you've met Angie, she's a force, and you know, and Corey Dason's who I used to teach with that was like on our side of the district, we saw all the writing on the wall, like this is getting more expensive, it's hard for families to do this, so let's just get them to try it. And so, but you know, we have uh, you know, a large population of Somali families, right? Where, you know, when after where it's like music is not part, uh this, especially Western music is not part of their tradition, you know. And in fact, as a religious uh, you know, group that that can be difficult for them to, you know, uh to have their student continuing when they get to high school. And so I think some of that, um, you know, I look at it as sort of generational turnover, like we're gonna be positive, we're gonna give you experiences so that maybe when your kid, you know, has a turn, you know, but maybe they're gonna stick all the way through. You know, so there there are some real challenges that way with our students. Um, I think, you know, it's harder for more and more of our families aren't signing up for private lessons or buying the upgraded horn. And so these are sort of the things that I'm trying, you know, to grapple with. We're fortunate we have a you know, small pilot program of a like private lesson scholarship thing through our boosters right now. Wonderful. Uh they're given a try. Uh and yeah, there's just there are little things we can't wave a wand, right? And just have you know, have everyone involved. But I think by continuing it to be a positive, you know, authentic representation of the music that we do do, uh that I think we will eventually, you know, hopefully get more and more of those families involved in our program. So yeah, I yeah, I think that's sort of the biggest challenge, you know, you know, uh for us right now. And there's there's a really strong legacy of, you know, what was it? I think it's uh Jeffrey Kempton, I think was the guy who opened it. He was over at he worked at Interlock or a band program at Apple Valley High School. We Wayne Roomer, and then, you know, and then Scott Jones. These are like, you know, prolific people who have gone on, you know, and we've had crazy, like we have all these great alumni that are now teaching music across our state. I I feel a lot of uh, I feel I shouldn't say pressure isn't the right word, but like I feel a lot of ownership to try to continue that tradition, you know, and keep keep a high standard while our community has completely shifted, you know. And so that those are those are the things that we're you know, we're struggling with right now. But I I feel like our district fortunately isn't afraid to invest in staff, right? I'm able to give, you know, granted they're only four or 15-minute lessons a trimester, right? But I'm still able to give lessons, pull kids from classes to do that, um, you know, help keep them accountable and hopefully point it in a direction if they want to uh with supports to continue to get get better.

SPEAKER_06 48:56

So yeah. Awesome. Good for you. Thanks, David. Okay, and now get ready. There's gonna there's going to be a speed round, and it is gonna be so much. Undercovered by the thought process. Just uh answer quickly. Apologizing right now. Just apologize. You're gonna get most of these right, but I just feel these questions are important for the general listening audience. Uh and this is these are all questions about trombone players in famous horn bands.

SPEAKER_09 49:23

Oh boy. Oh god. Okay.

SPEAKER_06 49:25

Get ready. Get ready. Let's go. Uh the two-part question. Famous trombone player from the band of Chicago.

SPEAKER_09 49:31

Oh my gosh, what's his name? He wrote all their songs, and I can't remember his name. That's gonna kill me. Guys, this is gonna be embarrassing. Yeah, please.

SPEAKER_06 49:38

First name, Jimmy. Jimmy Hendrix. Watts. Yeah, Hendrix. Jimmy Pankow. It starts with Pete. Okay.

SPEAKER_09 49:44

All right, yeah. Jimmy Pankow.

SPEAKER_06 49:45

I would have pulled that out. Uh and that's gonna be for everyone. Um, original name uh the of the band Chicago. It was not Chicago. There was something else before that. Oh, Gary, Indiana Detroit. Yes, that's right. The big thing. Okay. The big thing. The big thing.

SPEAKER_09 50:03

Uh I didn't know that. Good guess. Do you guys when I lived in Cleveland for those five years, you know, like there was an ad campaign that was like it was like a joke. Like Detroit, you know, Michigan's doing it. At least we're not Detroit. Yeah. So every time I hear Detroit, I detail.

SPEAKER_06 50:22

Yeah. I didn't know this one, but uh, there's a doubler, trombone and trumpet player in Tower Power. And I didn't know who this was. No, there's not. Yes. Uh original Tower Power band. Mick Jolette. Did not know that.

SPEAKER_09 50:36

Mick Jolette.

SPEAKER_06 50:37

No, we're getting it. All right. So Road, the Road Trombone player for Steely Dan is a pretty well-known player. Now teaches at the University of Illinois. Famous New York freelancer. No way. Uh Bob. Jim Pugh. Yeah, that's close. Original bone player for Steely Dan. Uh Road Bone player, a road trombone player uh for the Rolling Stones. Tony Baker, Phil Johnson. Um Mike Davis. No. Now famous New York freelancer. Sweet Julie. And then this one uh originally uh quite famous for playing on the David Letterman band, but uh original road tramone player for Blood, Sweat and Tears in the 70s. Oh, Charlie Vernon. Easy. Uh sweet Tom Tom Bones Malone. Oh, of course. Okay. All right. Of course. Of course.

SPEAKER_07 51:21

He played in the Blues Brothers, didn't he? Yes. Very good.

SPEAKER_06 51:25

We did that. All right. And then uh we got two more. That's gonna be quick. Uh Termone Shorty's real name. Oh, I know this.

SPEAKER_09 51:32

Oh, shoot. Uh taller than average. No. I went and saw him when he back when Minnesota Zoo did uh uh concerts in the Minnesota in the like AVA, like the bird show area.

SPEAKER_07 51:43

Oh my god, I think it's his name.

SPEAKER_09 51:44

Troy.

SPEAKER_06 51:45

Yes, Troy, yeah, it is Troy. You're right, isn't it? Yes, yeah. It's got a last name too. It's amazing. Troy Amazing? His name is Troy Amazing? It's amazing. Troy uh Troy Andrews is very close. Troy Andrews.

SPEAKER_09 51:56

Troy Andrews.

SPEAKER_06 51:58

And last one, James Brown, famous trombone player. Oh yeah. This one James Brown.

SPEAKER_09 52:02

Fred. Fred. Um uh it's not Fred Weasley. It's Fred. It's Fred, you're that's close enough. Fred Wheasley. Fred Wheels. It's not a Harry Potter character. Full credit. Fred Weasley. I just played Harry Potter code names with my kids. I wasn't getting out of Fred Weasley there. Fred Weasley. No, there's there's that great book, uh, Hit Me Fred. Hit me Fred by uh about about this band. I read that ages ago.

SPEAKER_06 52:27

Yes. And there it is. We have gone through the most famous uh trombone players from uh Hornford. Is it sort of sad that like I don't like who's most people aren't, yeah. Well, this is very important to me. Most okay, all right. David. I mean yeah. Um now it is Chris Chris came in strong with the Detroit guest. Thank you, Chris. I did. You're welcome. Yes, yes. That was solid. That was really solid. I see Gary Indiana.

SPEAKER_07 52:56

Yeah, no credit given. No, no credit for Peter. David, it's great to see you again. It was great to hear your band this spring. Um really glad to have you share your expertise and ideas and passion with everybody.

SPEAKER_04 53:10

And um, you just keep doing great work and sending all those amazing students out. Uh the best thing about you that program is yes, there's changes to the program, but the great teaching has continued, and that is what matters.

SPEAKER_07 53:25

That's that's the real spark. And then you can play through a fire if you want. Just ask Phil. That's the spark you need.

SPEAKER_09 53:32

We'll do that. I will. It's sparky. Definitely sparky. That's pretty good. That's pretty good.

SPEAKER_07 53:37

And it's hard for me to agree to say this, David, but I agree with everything Peter just said. I love this. Congratulations. Yeah, there's a first man back from the audio, but you know what happened. Gotcha, gotcha. That's happening. Gotcha. Gotcha.

SPEAKER_06 53:50

David, I I can't wait to hear the RB ban and more, maybe a staff ban this summer at some point.

SPEAKER_09 53:55

Yeah, yeah. Let's go. Let's go. Well, I'll let you know. Josh Becker is supposed to do it with me. So he should. Yeah. Yes. So he said he was he he was responded right away. So we'll give it a go. Yeah, we're hoping uh we've got it's like the uh play we can put some money towards the ban for all programming as a result. Yeah. Yeah, that's right. With that. So we're gonna yeah, we're gonna gig and uh and set up, you know, the RS fees gonna go towards that program. So we hope that works out. So we'll send you a thousand dollars. Okay. There you go, Phil. That's right. You also are getting paid for this. Right. Yeah, yeah, yeah.

SPEAKER_07 54:37

He's got lots of gigs, remember. He said it. You heard it earlier. He's got a lot of gigs this summer.

SPEAKER_06 54:42

Yeah. Where is the royalty check from this podcast? Haven't seen that yet. I'm curious about where that is.

SPEAKER_07 54:48

If you would like to sponsor uh the podcast or even contribute, just look in the show notes. There's a contribution thing. Jack Stamp was a contributor, and then he stopped. He'd had enough. He'd had enough. He listened to two and doing that tomorrow. This would be good. And then he actually listened and he's like, I'm taking my five bucks back.

SPEAKER_03 55:11

All right. That's a good one right now.

SPEAKER_07 55:16

You're welcome. You're welcome. Great guest, Peter. You're welcome. I'm glad. David is one of the best, and I'm glad I brought him on. Phil?

SPEAKER_06 55:24

Thanks, Peter. Thanks, Peter, for every everything you're doing. You're welcome. You're welcome. Yeah. The servant aspect of you is you know just uh really hard to describe.

SPEAKER_07 55:35

Yeah, it is hard to describe the servant side of me. Yeah. Just in charge. Better and better. Uh that no, that's fun. Good to meet him. Yeah, great program, well respected. Wow. That's cool.

SPEAKER_06 55:48

He's just great. Just the sweetest person. And I think the students just sense it a mile away that he's a great musician and a sweetheart. And man, he just finds a way to create a culture where they they want to make great music.

unknown 56:00

You know.

SPEAKER_07 56:01

Well, and they're team teaching too there, right? So there's like he's a basera now, but it's Cloud Dazin's amazing. And Scott, I mean, it's so it's it's there's a really nice thing going on there too. So you get you get him, and you you can yeah, I just love that. And folks, you gotta check out those recordings. I mean, I just hopped on, I'm like, oh, let's just see what it is. And then I'm and then while you two were talking, I was listening, you see, and it was fantastic. So wow, beautiful. Um you know what else uh I listened to? Paul Kyle. That's right, Paul Kyle. That's exactly right. This is the answer to our final band buzzler.

SPEAKER_00 56:44

Well, it's time for the answer to the final band buzzler of the season. Did you get the answer, Peter? If you guessed Transylvania Fanfare by Warren Benson, then you guessed right. Written in 1953 for the Brevard Music Center, Warren Benson used elements of a brass fanfare which signaled the end of concert intermissions and the opening bars of Handel's Air from the Water Music Suite, which was the camp's radio theme. Of course, before 1955, the Brevard Music Center was known as the Transylvania Music Camp. And that's who commissioned Benson, and thus the title, for a fun, bandy, quirky piece entitled Transylvania Fanfare. It has been a sincere pleasure serving as your band buzzler guide, and I hope you've enjoyed this season's musical journey. A hearty bravo and thanks to the brain trust of Gleason Ostrander Hauberman for a thoughtful and thought-provoking podcast filled with whimsy and banter. And feel free to send my royalties check as soon as possible, guys. Until the next time, commuter. That is, if the FCC doesn't shut this rough and ready operation down, happy listening.

SPEAKER_07 58:01

Rough and ready was a nice first of all. I didn't know Paul. I didn't know I didn't know that.

SPEAKER_06 58:13

Did I say Paul Booty?

unknown 58:16

No. You did.

SPEAKER_06 58:17

I heard you say it. I heard you say it, Peter. Um I love to thank you at the end.

SPEAKER_07 58:22

It was nice.

SPEAKER_06 58:22

Well, we were just texting.

SPEAKER_07 58:25

To all the people.

SPEAKER_06 58:27

Any other polls that we need to sort of thank you.

SPEAKER_07 58:29

To the Peters and the Marys. All of them. They're just one of the Peters. It's not the Marys. This is by far the worst show ever. I mean, like we are the worst. Could be the worst banter.

SPEAKER_05 58:38

Up front, the banter was bad.

SPEAKER_07 58:40

We couldn't put anything to work today.

SPEAKER_05 58:43

Tech all the way around.

SPEAKER_07 58:45

Yeah. You got things. I got my dog in here panting away. We're really hitting a new low bar to end this season. The podcast is yeah, it's fine. Okay. Hey, uh we're going to do a little preview for next season. Okay. Because there is going to be a dumb idea, don't you? I do. I have a great idea. The idea is this, they're called MMs. Okay. And so what you are going to do for next week is you're going to bring a favorite suspension in any piece of music, a suspension that you think is the best musical moment in any piece. It's going to be a 4-3, a whatever you want. A beautiful suspension. Or an apogatura. Okay. That's your challenge. We're going to share our favorite. I call it MMS. I got it right now. You do. Okay. Well, you don't get to say it because that's going to get people to listen to do this. Share? I'm going to forget to do this. Share. All right. I care, but not enough to prepare.

SPEAKER_06 59:41

Well, are we going to just do it now?

SPEAKER_07 59:43

Deny. It just keeps saying deny. Yeah, well. Sorry, my life. Get used to that, Philippo Strander. As if you weren't already. I play trouble, denied. Step aside. Get your wife's violin in here and you don't play it. Get in the back row. So stop raising your hand.

SPEAKER_06 1:00:04

I didn't even know that was a function. Oh my god. I know, but you keep trying to do it.

SPEAKER_03 1:00:11

Oh my god.

SPEAKER_07 1:00:12

We're all raising our hands. Are you trying to show your screen?

SPEAKER_05 1:00:16

What? What? Huh? I can share my screen. Uh oh, I'm not allowed to. Well, that's about that's about time. I don't, I don't get I don't know. Um yeah. This is going great. Okay.

SPEAKER_07 1:00:29

All right. All right. So that's the new segment. Seriously, you can't share his screen? That's denied.

SPEAKER_06 1:00:36

Why what is the basis for the suspension ask? I'm I'm fine with it.

SPEAKER_07 1:00:40

Uh okay. So I was doing a uh a clinic with one of the bands, and we were talking about musical moments, and uh that just came to me. At that, I was like, oh, we should do this on the podcast. Well, you're not encouraging this behavior. I think the band boozler is a good idea, and I would love to have more people send us in band boozlers. I think there's actually something of value. Okay. Ban boozlers. Well, you keep thinking that. Not that I say anything that's helpful, but for others to hear that they have other people are having those same problems, like you know, misery breeds company, it it feels good that others are struggling with whatever. I do have a boozler that we could do. Actually, I did have someone write in. Bamboozler. Bamboozler. It says, hello, gentlemen. I have a situation in which at the beginning of my class period, I tend to talk a lot, and it's usually pointless nonsense. What recommendation would you have since you both know or you all know about it?

SPEAKER_06 1:01:39

You should host a podcast because that's how we start all of these.

SPEAKER_08 1:01:43

That's right.

SPEAKER_07 1:01:44

We can't help you with that because that's our daily affair. This is how we start everything. Every time. Every class. And then we run out of time, so then we rehearse during fires. That's how we do it. Ooh, that was a nice reaction. I'm raising my hand. I'm lowering my hand. Turning my mic off. I'm turning my mic on. I'm ending the show. Beyond Artless is sponsored by Beyond the Notes Music Festival. Our mission is to create and provide profound learning and social experiences through music that go beyond the notes. Visit Btn MusicFestival.com to learn more.