Transcript
Speaker: You're listening to The Wound Dresser, a podcast that uncovers the human side of healthcare. I'm your host, John Neary.
Speaker: Today, my guest is Dr. Ethan Tarasov. Dr. Tarasov received his MD from the University of Rochester School of Medicine and Dentistry before doing his residency in radiology at Weill Medical College of Cornell University.
Speaker: He worked for nearly 30 years as a radiologist for radiology affiliates imaging, serving populations in New Jersey, Pennsylvania, and Delaware. After retiring from medicine, he has spent most of his time as a songwriter and composer.
Speaker: Dr. Tarasov has also started his own publishing company called Sounding C Music that distributes his work to a wider audience. Ethan, welcome to the show. Well, thank you for having me.
Speaker: So I just wanted to start out actually at the crossroads of music ah and medicine and asking you ah with your your experience in both of those realms, can you reflect on um the healing power of both music and medicine?
Speaker: The larger question, um how how and why music is healing for people, um it's it's hard to know. I think that therere there is some underlying neurologic substrate, something about our brains that is responsible for the fact that universal is, you know, almost, excuse me, music is almost a universal human experience or attribute develops in, I think, pretty much all all cultures.
Speaker: um But i I'm not an anthropologist. Uh, Oliver Sacks, the neurologist, late author, uh, wrote a book called music Ophelia that, uh, I've read, uh, segments from. And, uh, he, he, he ponders, uh, about the role of music, uh, and, and, and brain function as through his lens as a clinical neurologist.
Speaker: Um, some very interesting case studies, uh, Somebody who's not really not particularly musical, I think gets hit by lightning on a golf course, has to be you know resuscitated. And when he comes around, he's seized by a passion for music.
Speaker: ah That changes his his life, stories like that. But
Speaker: they're and they're anecdotes. it's So i don't I don't have a lot more to say, i guess, about that. So looking at your 30 years in the field of medicine as a clinician, um first off, how has medicine evolved ah over that time period ah and in what you've seen?
Speaker: Well, there were ah great, great changes really over more than a 30 year period. So, you know, I entered medical school 1977. I retired in
Speaker: um When I was in medical school, ah CAT scans were were a pretty new thing. ah they And looking back at the kind of images that a CAT scanner generated in, say, 1979, they were incredibly primitive compared to what what we just take for granted now.
Speaker: But CAT scans came along in the early nineteen seventy s and they really... The CAT scan technology had a really transformative effect on medicine, um really stunning.
Speaker: um But before CAT scanning, we you know obviously we had some X-ray technologies, but the amount of information that they revealed was really very limited in terms of a lot of different conditions. ah CAT scanning put imaging like on treble steroids.
Speaker: And so that what what happened over a period of time is people really stopped talking even about exploratory laparotomies. I mean, but when I started medical school, you want to find out what was going on inside somebody, there was a good chance you're going to have to open up and take a look.
Speaker: ah CAT scanning, you know, was a big piece of the reason that that no longer pertained. Now, most of the time, surgeon operates on someone they they know in advance to a large extent, what they're gonna confront, not 100%. So it really changed things in terms of ability to diagnose all the percutaneous techniques that we developed, whether it's percutaneous biopsy, interventional procedures, that all really occurred pretty much over the course of my career.
Speaker: ah When I graduated and medical school, there was no MRI yet. um I remember as a when I was a interviewing for my residency internship, the the chairman of the radiology department showed me the architecture layout plans for the first MRI suite that they were planning at Cornell. And I think that was the first one in New York City.
Speaker: It wasn't built until i think 1982. MRI, of course, um so and mri of course just opened up whole new possibilities of of of diagnosis, um not just in the abdomen and in the and central nervous system, the brain and spine, but for the first time really allowed us to see what was going on within joints, noninvasively or, you know, relatively noninvasively um in in exquisite detail.
Speaker: So the these were huge revolutionary advances, CT and MRI, the inventors of both technologies in each one, the Nobel prize. And I think very, very deservedly. So, so, um, those were huge changes in imaging and it really put imaging front and center as just an absolutely vital piece of, of patient diagnosis so that, uh,
Speaker: well into my career, I, you know, it was pretty apparent that if a patient came to an emergency room, that the goal was basically to get them stable, so you could image them and figure out what was going on.
Speaker: ah And that that was completely new compared to when I was in so originally in school.
Speaker: I've definitely noticed in my own work in imaging that all roads kind of go through that, right? And it's it's kind of the toll booth for all avenues of medicine, which I think is really cool.
Speaker: um In terms of your work as a clinician, clinician though, you were a part of... ah Diagnostic radiology as well as interventional radiology. And could you just talk about like wearing those two hats and the different responsibilities you had ah when performing ah in in both those disciplines?
Speaker: Well, ah for the first half of my career, I did both interventional and diagnostic radiology. So I had my subspecialty certification in interventional radiology, um which in and of itself was new.
Speaker: um when It didn't exist even when I was a resident. The first subspecialty certificates for interventional, I think, occurred a little bit later.
Speaker: um And ah it it was, you know, very but we had within the group a division of labor um because if you're in a procedure room doing an intervention, putting in a nephrostomy or doing an angiogram, which was much more common in those days than it is now because we have CT and MRI angiography, you can't be reading x-rays at the same time on another patient. So um there there there was a division of labor.
Speaker: but it was um doing both diagnostic and interventional um you certainly couldn't rest on your laurels i mean i remember one time i was doing a renal artery angioplasty on a patient which is a technically demanding procedure and um where you're trying to use a balloon or balloon in a stent to open up a renal artery in the hopes of either improving kidney function or helping helping treat a patient's hypertension.
Speaker: Not something done very much anymore, but 25 years ago, it was done pretty routinely. um So I had this arduous procedure. I was in the procedure room for you know probably two and a half hours getting a complex renal angioplasty done.
Speaker: ah And i walked out of the procedure room took off my taken off my my my a gown and getting the ah the the heavy lead apron off and a tech, you know, runs up to me and shows me she's got a patient, you know, who's 32 weeks pregnant, she's getting an ultrasound, she's bleeding, could you look at the images?
Speaker: yeah know You know, didn't even have time to like take a breath. that's come in you know Leaving the interventional ah you know pan and into the obstetric ultrasound fryer.
Speaker: um But it was exciting to be involved with both. And it wasn't and it was helpful it was helpful because you you need the very sharp diagnostic skills. You got to do the best interventional work.
Speaker: um because a lot of the planning in the interventional work is a function of your interpretation of imaging so that you can plan what you're going to do. So I always enjoyed doing both. Finally, um I decided that I was going to put down my ah interventional ah hat and just do the diagnostic.
Speaker: um But I enjoyed it for the 15 years or so that I was doing both. I wanted to ask also about, so you worked with um an organization called Radiology Affiliates Imaging, which is, ah correct me if I'm wrong, just a group of about 50 or so radiologists who together provide imaging services for both individuals, but also healthcare centers. Is that right?
Speaker: Yes, so we have, ah well, it's an ongoing organization, but as I said, I retired four years ago, but we we served a number of hospitals and plus our own offices, ah imaging offices, and we were in some collaborative arrangements at ah other imaging offices.
Speaker: So could you talk about perhaps the difference in environment of, of saying working for like a professional association where you have your own independent imaging offices, as opposed to just being, say, a radiologist at a hospital, kind of just not in this collaborative ah professional space?
Speaker: Well, there are a lot of, i was primarily hospital based. I would say over the course of my career, I probably spent 80% of my time, 90% my time, ah hospital working in hospitals. So it it was a private it's a private medical practice that was single specialty radiology.
Speaker: that And we would contract with various hospitals to provide round the clock diagnostic and interventional radiology services to that hospital.
Speaker: So some of the radiologists would be ah you know assigned and would be primarily at that hospital. That was something that the hospitals wanted. They want to have a core of people that are there all the time providing those services.
Speaker: um which is you know ideal for quality utilize quality control utilization control so that the clinical staff comes to know and feel they can trust and rely on the the radiologists that are providing services at that hospital um but at the same time we were providing a lot of outpatient services both at hospital and in offices um The thing about having your own offices, it's like anything else. I mean, there's advantages to having your own business because you can control it, you can do it, you can provide the service the way you think is going to is going to work and is going to be best.
Speaker: um It's a very different environment in an outpatient office that you're dealing with ah a patient population that by and large is not as ill and certainly not as acutely ill as what you have in a hospital.
Speaker: um So, that you know, very very different experiences. I was mostly at the hospitals, um but some at the office, a little bit at the offices.
Speaker: I guess i'll I'll segue into your music career here, but... At what point did you kind of decide to hang up the the stethoscope and ah do music full time? Was it something that you kind of did on the side during your medical career and felt like you didn't have enough time for? Or what was the the whole thought process there?
Speaker: Well, i but I made a decision that i you know I wanted to retire by a certain point because I really... um I wanted to have the opportunity to do other things. um I'm interested in an awful lot of areas and activities. And i the especially the last 10, 15 years of my career, i was very much all in ah to to the career. So it left very little time for me to pursue anything else.
Speaker: And that partly that was because um you know it's it's it's hard work just staying abreast of your own field. It changes very fast. There's new technologies, new new information, and you feel like you want to try and to you know keep up with all that. You need to. ah But also, um what happens is you go through your career, and whether you're you tend tend to be given more responsibility and you take on more responsibility. So I was the chairman of the radiology department at the small hospital where I was working.
Speaker: So that means, you know, you're on a lot of committees. You're on the hospital safety committee, the executive committee. I was chairman of the credentials committee, which is a very important function. but That's the committee that has to, when when someone applies to be a doctor at a hospital, uh, or, or ah a PA a or a nurse practitioner, uh, you have to vet that person. There's a, you have to make sure that this person really is qualified, that, uh, they don't have a criminal record, all that sort of thing. So I became chairman, I was chairman of credentials. I was on other committees. So that that takes a lot of time. Those committees meet, they meet weekly or, but you know, biweekly. um There's after hours conversations. And then ah because I was part of a private practice, i was i was a partner. I was an owner in that practice. So ah not only did we have 40 or 50 physicians, but we had maybe a double or triple that of non-physician personnel, all the staff running the offices, et cetera.
Speaker: And so, you know, that there's just a host of administrative and legal issues that come up ah that you have to deal with. ah When you have 50 doctors, that's, you know medical billing is very complicated. For a long time, we had our own billing company ah that I was kind of the liaison between the the the billing company and the parent organization.
Speaker: um as the group grew, i mean, we when we started, we were like a quarter the size of what we ended up at the end of our career, but my career, as the group grew, we eventually had to outsource, ah either outsource some of those functions, or we brought in a non medical administrators, you know, CEO, CFO, ah to manage the whole operation.
Speaker: But we were, you know, I was constantly interfacing with them, I was on the board, of directors of the corporation. And, um you know, I was interfacing with lawyers over ah all sorts of issues that just are part and parcel of, you know, running a running a corporation, real estate law, personnel you know employee law, all sorts of stuff. So ah that became, if not overwhelming, it really just took up all my time. And I was at a certain point, I was kind of getting fed up with that.
Speaker: Um, so, um, I worked towards being able to you know retire when I did and I did. So I was not at that time focused that, Oh, my retirement's going to be about music.
Speaker: So I discovered that kind of afterwards. Very cool. Um, I know as part of your, um,
Speaker: music efforts do you focus way more on composing and and songwriting and not so much as performing um so as a lay person i'm used to kind of seeing performers in in in like bars or different venues and why why have you kind of chosen to focus more on the composing side of things as opposed to performing it's really accident uh just the way it turned out i I was trained. I had a lot of musical training as a young person, you know, as a kid, right up through and into college.
Speaker: And I knew I love music. Um, and I knew I wanted to get back to it, but I thought I would get back to it just in terms of being able to perform, not perform in public, but just to, to get the rust out so I could, you know, get back a degree of technical,
Speaker: um I won't say virtuosity, but at least capacity on the piano. Piano was always my main instrument. um And I wanted to learn some guitar. You know, I toyed around with guitar over the over the years when I was a kid, ah but I really wanted to get kind of get better at it. So I started after after I retired, one of the things I said, okay, I'm going to start playing piano again. So I did, but I found that I just enjoyed sitting there and improvising. And as I improvised, i
Speaker: you know, I was hearing melodies. I was hearing interesting chord patterns and I started writing them down and, um, I said, gee, that could be a song, you know? So I wrote one and, um, then I wrote another one. I said, well, I kind of like that. I think I'll do another one. So, um before you know it, I had written like 30 songs over a period of, you know, a few months.
Speaker: And, um, At that point I said, well, maybe I should copyright these songs. I don't know why, but I mean, if you write a song, aren't you supposed to copyright it? So I spoke with my personal lawyer, who is also a corporate lawyer ah for my group that I had you know been known for 25 years. And he is that he's the chairman of a big law firm, national law firm.
Speaker: And he I asked, us so I went in, I said, what do I do about copywriting a song? He goes, i'm ah I'm a tax and corporate lawyer. I know nothing about songs, but we have an entertainment division. I'm going to send you to see my guy in New York.
Speaker: So I met with him and he he said, well, we can get the junior guy to teach you about how to copyright. That's easy. But what you really need is you need to talk to someone about getting some demos for your songs.
Speaker: And of course he represented many people in the music industry. And he goes, I have this one guy who's ah producer I've known for like, 30 years and let me run run this by him.
Speaker: So he reached out to me and I met with him and he's been like my songwriting coach and teacher ever since. um Because I really knew nothing about songwriting.
Speaker: And he said, you know, you you have a kind of an ability for melody. ah you have You have some talent maybe, but you'd you need to learn about songwriting and about the structure of songs.
Speaker: And I started with him basically like a student. I call him, a he was like my Jedi master, you know? And um i still I'm still working with him. And it's about three years later, i'm I've written almost 200 now.
Speaker: um But they're they're not all not all of those are you know complete, fully realized songs, but quite a few are, or at least close to that point.
Speaker: And it just became just became a thing. loved doing it. Did it it take a lot of time to develop the the skill of sort of integrating the actual musical composition with the lyrics? I imagine...
Speaker: That's got to be something that... Composing the music is hard enough, but then actually to add, like you said, meaningful lyrics that express something ah you know through the written language, but also through the the song.
Speaker: it's It's a lot of work, ah generally. Yeah. it may I may be able to sketch out a lyric you know pretty quickly. And once I've done that, it's not that hard to match it to the music because they're both flexible. You can change the number of syllables in the line and you can change the number of notes in a melody and you can change the rhythm of the notes.
Speaker: so that you match the natural rhythm of the words, the speech, you know? ah So i've i that's a matter of practice. It's a cre it's craft.
Speaker: ah But it's still um it just like being like writing a novel or writing a poem. ah For, I think, a lot of writers, it's a matter of editing and revision. I'm writing a song right now. I'm pretty happy about the song at this point. I've been working on it for actually, I'd say, a three three, four weeks.
Speaker: I'm up to version 30 of the lyric. And the the the difference between each lyric a version is not that great. But if you look at what version 30 is compared to version one, it's probably, you know, 80% of the words have been replaced or or maybe 50%. I don't know, but it's a lot. And youve still maintain the theme of the song or is it kind of that's also evolved with the versions? Yeah.
Speaker: There are musical slight musical adjustments that I may make as I adjust the lyrics. um But oftentimes, you you know you change the lyrics, you keep you can keep the same stresses and the same syllable counts.
Speaker: um What I do is I get to the song the song to a point where I think it's pretty coherent and presentable. And I present it to either my coach in New York. I also have a songwriting coach in Nashville who's a professional songwriter, a very you know successful one. and And she's really given me a lot of insights, both about music and lyrics and music.
Speaker: had had Had a lot of fun co-writing a song with her actually last year. But I present the song to both of them ah to get, you know, and then I get i get very astute feedback from them.
Speaker: And sometimes they go, yeah I mean, I think this song, it it works. I might do a little fix in the bridge or this word I'm stumbling over or i I'm not sure I like this inversion in this chord, you know, the minor things.
Speaker: Or... they might say this. I don't even get what this song is. What are you trying to say here, Ethan? I don't get what this song is really about, you know? And sometimes one will get one will like it and the other one won't. And so I have to i i process their analysis and then I decide, you know, well, what what am I going to do? I also, i belong to a ah group ah that I was invited to join in New York of songwriters that meets twice a month at on the Upper West Side in someone's apartment.
Speaker: And they're they're all professional songwriters, mostly in the kind of cabaret and off-Broadway musical world, ah with some Broadway activity as well.
Speaker: And they're very, very knowledgeable about songwriting. They they do it... some of them for for a good part of their living and for many years. So then i will i present a song pretty much every time I go to them and I get a lot of really good feedback. I mean, sometimes it's it's disheartening and sometimes it's encouraging.
Speaker: um And i take all those things and I sit back down with it and then I think, what well, what do I agree? Do I disagree? Should I try that, you know?
Speaker: And I play and I revise and at a certain point you go, okay, this is what I'm, you know, I think this is ready to go. So so now without further delay, I wanted to play some of your music.
Speaker: um Two of my favorite songs that you have, ah Something Magic and When I'm With You.
Speaker: Dark moon and cloudless, stars shining countless It's just you and me, there's no one to see How you take me flying Kissing so sweetly, soulful and deeply I'm glowing so warm I feel your strong arms wrapped Tied round my body Something magic happens every evening When the sun sets slowly Our love starts, bonfires blazing Fireworks amazing each night Till the sunlight
Speaker: Gazing intently, whispering gently, I don't want to stop, turn off the clocks, love me till you send me.
Speaker: Never forget me, never regret me Remember this night so full of starlight Loved you so completely Something magic happens every evening as the sun sets slowly All of the spots, bonfires blazing, fireworks amazing
Speaker: So that was Something Magic by Ethan Tarasov. Can you give us just an inside scoop of how that that song came to be? It was a melody that I i liked very much.
Speaker: Um, It had kind of a jazz kind of a jazzy feel to it. And um but my producer in New York, his name's Skip Brevis. he He felt the same way about it.
Speaker: ah The singer on Something Magic, is her name is Anson Jones, who um kind of was a student or proje of Skip. And she's a wonderful jazz singer.
Speaker: she's a college student now. When I met her, she she recorded that. I think she was still between high school and college, or maybe she was just just into her first first semester, but just a very skilled jazz singer, and I've used her for for many ah recordings, including just some bare-bones ones that I do so that I can present them to various songwriters without inflicting my voice on them.
Speaker: um and Skip you know created the track, the the accompaniment track, along with an a colleague of his named Alvin Moody Jr. um And they you know they came up with that track.
Speaker: I was there when Anson recorded it, the vocal. skip got it to people that you know got it mixed had to be you know it more more engineering and um that that's what uh you you heard the result it kind of has a like a gypsy jazz feeling almost with a violin that sort of thing but all those instruments are synthesized you know they're not no one's really playing a violin Yeah, we'll we'll get back to that. I really, i just felt like the song was so bright. Like, obviously, fireworks, fire, like, sort of just this, you know, overwhelming light. And I feel like it's very positive, right? In the ah the words you have about sort of this wrote romantic relationship whatever's going on.
Speaker: And i i even associated like a waltz with that. with Is that kind of, does that sound on the curve to you? Yeah, I'd have to go back and think. um it's not I don't think it's in Walt's time. um But, yeah, I mean, it it has that it it it has that feel of a dance.
Speaker: And, um yeah, I mean, I was just channeling kind of a a romantic vibe, you know, but with a little a little twinge, never regret me, right?
Speaker: Never forget me. um I was really pleased with how how it came out. and um it's I ah i actually had it pitched for ah a film. It didn't get picked up.
Speaker: But the fact that they were even willing to listen, I was i was pleased. um So you can see sort of like a little indie European film somehow with that song in it. I don't i don't know. it It has sort of like a Paris Cafe kind of feeling somehow.
Speaker: Absolutely. Yeah. How, um... You were saying you used exclusively synthetic instruments, correct? No, some of the, um... some of the, uh, instruments that i we use, and it's not me, it's, it's skip is the producer. So he, he gets the musicians. Um, and we've used guitar, sax, other vocalists. Um, but most of what you hear on those produced tracks, uh, the ones that are kind of what they would call radio ready or almost radio ready. Uh, those are, you know, it's all done, uh,
Speaker: through and engineering, you know, and synthesizers, apps, and software. Does that include the ah the whistling as well? no that it No, that's Anson. That's her whistling. and I remember Skip, it just kind of, she's a wonderful... um ah vocal um um um improviser.
Speaker: And Skip just sort of had the idea, hey, Anson, you know, why don't why don't you try whistling? You know? And she goes, oh, i've I've always wanted to whistle on a song. I know how to whistle. You know, she's like been trained ah to do jazz whistling. So, yeah, that was that was real. ah Yeah, that was definitely the the cherry on top for the song. I felt like it was just nice at the end.
Speaker: Yeah, yeah. No, that was a very nice part of that, I thought. Okay, and now I wanted to look at a little bit different of a song when I'm with you. So here we go.
Speaker: used to ride and ride, try to free myself if
Speaker: thought I might say farewell to the emptiness I felt before you poured into my life. Bleak visions in my mind, you drove them out of sight right after right.
Speaker: Never escaped night after night. Dark highways, endless drives Still had that sadness inside Then you pulled me off those roads With your laughter and your bliss Hadn't felt exhilarated since as a little kid First jumped off the high dive At the local swimming pool
Speaker: Close my eyes, leap for the sky when I'm with you. I feel that high, I feel that high when I'm with you.
Speaker: I feel that high when with you.
Speaker: the nights you're working late can't sleep lie awake for a second i recall visions of ending it all then i hear you in the driveway see your headlights through the blinds i race to the door My heart's leaping for the sky.
Speaker: Cause you pull me off those roads with your laughter and your bliss. Hadn't felt exhilarated since as a little kid.
Speaker: First jumped off the high dive at the local swimming pool. Close my eyes, leap for the sky When I'm with you I feel that high I feel that high When I'm with you I feel that high When I'm with you I'm flying When I'm with you I feel that high
Speaker: Well, ah When I'm With You is very recent. I wrote that within the last, I guess, couple of months. Something Magic is a few years ago.
Speaker: um Though...
Speaker: When I'm with you, i heard it as being sort of singer-songwriter kind of mode, not more you know jazzy. And so I turned to a singer.
Speaker: Her name is Kirsten Maxwell, who's just wonderful. People should check out her website. ah on all but and you know she's Her music's available on all the different usual digital platforms.
Speaker: Um, and kit Kirsten, uh, has done a lot of recordings for me as well. Um, she has that kind of crystalline voice. I think of her voice, uh, like, like fine champagne almost.
Speaker: Um, and, um, she's a very good guitarist. So I asked her, if she could, you know, uh, create a guitar, uh, track for this just, and this is just a, what I call a bare bones sort of,
Speaker: production. it's It's just to present the song. It's not fully mastered or anything like that. But I think she did a great job with it. And whatever virtue is in that or good is in the that song, ah she she was ah able to bring it out. And that's always the case with...
Speaker: with with Kirsten. the line The lyric I really love from that song, which to me is like it's just like the highlight, is you know jumping off the high dive at the local swimming pool. I feel like that triggers sort of like emotions and feelings for everybody because it's just like a common sensation, I guess, that we all had sort of in our youth. and It goes along with the idea of that going back to your youth is is is kind of a theme in the song.
Speaker: Um, was there ah a funny way, a funny story about how that came about? Or did you just kind of think of it, uh, at the local swimming pool, I suppose? Yeah, well, you know, i think what's happened now is for kids, a lot of the swim swimming pools and things, they don't have high dyes because of like the liability issues.
Speaker: But, but, ah but, but I guess some still do. But yeah I mean, yeah, that's, that just kind of came to me. And I kind of liked it because, ah You know, usually when you talk about feeling high in a song, I mean, you're talking about some state of intoxicant, you know, intoxication, whether it's you know alcohol or something else.
Speaker: But I thought this was nice because it it's it's the high of just being high up in the air, you know, jumping off the high dive ah that, you know, it's it's like.
Speaker: kind of a transforming experience for a kid the first time you do that because- Yeah, perhaps a little fear and anxiety in there too, right? Right. You know, there's no one, your mommy and daddy aren't there to rescue you, you know? You got to do this yourself, you know? And so it's like, but but also it's that feeling of exhilaration that you get momentarily and that's the high, ah you know? And so I was sort of playing on that with that little post-course, you know, i feel so high when I'm with you.
Speaker: So um it's just like a little different take on that. And I i thought it might work. Very good.
Speaker: So where is the best place for our listeners to access your music? Probably the easiest thing is just to search my name on YouTube.
Speaker: Because I have under my videos ah tab on my YouTube page, I have like 50 songs up there. Most of them are like little just basic lyric videos. No action in the video, just an image and then just the lyric. So my name, it's Ethan Tarasov, E-T-H-A-N. And then my last name, Tarasov, T, like Tom, A-R-A-S-O-V,
Speaker: like Victor. So if you punch that in, you'll see my page, Ethan Tarasov slash Sounding C Music. And that's where all my, a lot of my music is. I also have a website, SoundingCMusic.com.
Speaker: So like it's from an Edgar Allen Poe poem. He talks about the Sounding C. So SoundingCMusic.com. And there I have quite a bit of my music and it's it's arranged a little bit by genre.
Speaker: So Something Magic is, I think, under the Jazz tab. And I keep that you know pretty up to date, but the the most up to date accumulation is on on YouTube, because I tend to post them there and then I distribute through Facebook to my friends.
Speaker: You heard it here, go check it out. Sounding Sea Music. So we'll finish with the lightning round, a series of fast-paced questions that tell us more about you. So who is your favorite musician?
Speaker: Boy, that's that's a hard question. um I would say in ah musicians in my in my lifetime, I think I have the greatest admiration for Jimi Hendrix.
Speaker: What's the biggest misconception about radiology? That radiology is a bunch of la la lazy, lazy, uh, men and women that, that, that, uh, that, that don't do much and get overpaid for it.
Speaker: How many instruments, um instruments do you play and what are they? So my main instruments, piano, I, uh, have limited facility, but I enjoy playing guitar.
Speaker: Um, and, uh, originally, uh, well, piano was my first instrument, but I was pretty proficient as a bassoon player. So the orchestral instrument, uh, And I almost went to music school for bassoon major, piano minor, but I took the easy way out and went to regular university and medical school.
Speaker: Thanks for listening to The Wound Dresser. Until next time, I'm your host, John Neary. Be well.
