Celebrate Poe

Send us Fan MailWelcome to *Celebrate Creativity*.I am the Night Watchman here at the Hall of Imagination—the finest wax museum in the whole world, at least during the hours when respectable people are awake. After midnight, it may still be the finest wax museum in the world. But it is not always respectable.I had just reported for work when the little red light began blinking on the telephone in the security office. I picked up the receiver.Security office. Night Watchman speaking.Could you come to my office, please?Right now?That is generally what people mean when they say, “Could you come to my office?”Yes, sir. Of course, sir. Be right there.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the  what should be the second of two episodes looking at Fallingwater from a musical perspective– and this episode is Fallingwater Dreams. Part two This podcast episode begins with the night watchmen– Roughly pattern after yours truly–talking to the wax figure of Frank Lloyd Wright, about a CD of music that I wrote when I was a guide at Fallingwater. And yes, this the recording is an actual thing, with the obvious exception of the talking wax figure of Mr. Wright.Now Mr. Wright, let us use music to go to the second floor. And to represent the guest bedroom to your, I used by PASPIED VIEJO– A traditional Mexican song. You see, this room and to represent the guest bedroom to you I used past period Viejo contains a drawing by the famous Mexican painter Diego Rivera.PASPIED VIEJOAnd then the spacious Master Bedroom-also on the second floor-has a fireplace made of stone accommodating the sculpture of a 15th century Madonna and Child. And Edgar Kaufman Senior's study shows how cantilever construction can result in a simple but powerful room.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the  what should be the first of two episodes looking at Fallingwater and the house  from a musical perspective– and this episode is Fallingwater Dreams. Part one This podcast episode begins with Mr. George Bartley talking to the wax figure of Frank Lloyd Wright, about a CD of music that Mr. Bartley wrote when he was a guide at Fallingwater. And yes, this is based on a real record recording which you will hear during this episode. Yes, the recording is an actual thing, with the obvious exception is the talking wax figure of Mr. Wright.Before we start, I want say a little bit about how this and the following episodes were structured in my audio program.  I wanted to make it simple, so I have the spoken dialogue–me and Mr. Wright– On track one.Then I would havethe music on track t two beneath it. That way I could work with the music without messing the whole thing up. In other words,The spoken dialogue and music are not assembled like separate mechanical pieces; each musical passage grows naturally from the conversation, and then the next conversation grows from the music. You might say the process is the audio equivalent of Wright's organic architecture: every element belongs to and depends upon the whole.And now Fallingwater Dreams –Part OneWell hello Mr. WRIGHT, this should be an especially exciting night at the wax museum because I brought the recording that I mentioned to you and something to play it on.That is wonderful Mr. Bartley– I'm glad you were able to do that because I never could find the Victrola that I thought this museum had.Oh that is not necessary, Mr. Wright. Now as you will know, Fallingwater eventually became a place visited by people from throughout the world—and years later,  I worked as a guide for the house and created an album that was sold in the Fallingwater gift shop. I would like to think that I not only guided people through through the house, but also used music to help interpret its meaning by performing the music, composing the title piece, and creating something that was actually sold there. Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the second episode in this miniseries about Frank Lloyd Wright. This is George Bartley in a wax museum in the city of Chicago, and we are talking to a wax figure of .the great architect himself. When we left Frank was talking about his trip to Europe with his–how shall I see it–his lover MAMAH.When Frank returned to the United States, he did not live with his wife Kitty and his children but instead lived with MAyAH.Mr. Bartley, that is true, and my mother gave me 31 acres of her families land in Spring Green, Wisconsin. Not surprisingly I moved there with MAyAH, and built a home called TALIESIN. Mr. Wright does the word TALIESIN have a specific meaning?AH, Mr. Bartley some say that it is a Welsh word meaning radiant, others claim that it has more to do with home out of the shining brow of a hill. In any case it had lots of windows where MAMAH and I could look out over the valley.Unfortunately Mr. Wright, I understand tragedy struck in 1914.Yes, Mr. Bartley. On August 15 of that year when I was in Chicago working on the Midway Gardens project, I received a phone call that informing me that TALIESIN was on fire.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the Hall of Imagination –my name is George Bartley and today I'd like to talk with one of my heroes.And seated behind a desk is a rather elderly gentleman and a suit and straw hat.Could you tell me who you are sir,?I am Frank Lloyd Wright –the architect.This is quite an honor– You are one of my heroes.That is an honor for me to hear.  I have noticed that you are rather chatty when it comes to the other wax figures in the museum, so it seems only logical that you might want to talk to me.That is an understatement. How would you describe yourself, Frank Lloyd Wright?AH, Mr. Bartley perhaps it would be most helpful if I started with my mother, Anna Lloyd Jones. You see when I was quite young, she bought me a special set of a building blocks, and these wooden blocks came in many sizes and shapes– Cubes, spears, and pyramids–and there were many sticks to connect them. Now remember this was 1876. And Anna dreamed that I would grow up to become a famous architect.And you certainly did!, Mr. Wright.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailFinally! This is the concluding episode for The 700-Pound Pineapple There are moments when an ordinary object stops being ordinary. It becomes a symbol. It gathers meaning until it weighs far more than any scale could measure.That is what happened to the pineapple in this series.At first, the seven-hundred-pound pineapple was an exaggeration, a way of describing the absurd weight of something that should have been manageable. It was the story of a body meeting an object, of a back bending under a load, and of pain arriving with consequences I could not predict. I have talked about the injury, the pain, the interruption of ordinary life, the strange relationship between suffering and creativity, and even some of the writers who transformed illness into art.But there is a question I have not asked directly enough: Why was I carrying that weight in the first place?I do not mean why I lifted that particular bag, or whether I used the right posture, or whether I should have stopped sooner. Those questions matter, but they are the smallest questions. The larger question is why people in one of the wealthiest societies in human history must depend upon an uncertain charitable system in order to obtain food. Why should anyone have to carry a dangerous load because that is what stands between a household and an empty cupboard?Today I want to say something plainly, without hiding behind a joke or a metaphor: this entire incident was unnecessary.The pain was real. The consequences were real. But the circumstances that placed me in that position were not inevitable. They were produced by choices—economic choices, political choices, and social choices about what we owe one another.This final episode is not an attack on generosity. It is an argument that generosity should not be forced to do the work of justice. In other words, good intentions do not excuse poor judgment.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailIn the previous episode, I talked about Dostoevsky, but I want to emphasize that the author does not offer a cheerful slogan. He offers recognition. He knows that illumination and darkness can occupy the same life. And in this episode, I want to explore some of Dostoevsky's ideas from a purely personal perspective.At the beginning of this journey, the seven-hundred-pound pineapple was a ridiculous image for something painfully real: the sudden weight that changed ordinary movement and rearranged daily life. Across these episodes, that weight became a way of thinking about the body, rest, dependence, memory, objects, creativity, and survival.Prince Myshkin adds one final question: When the body interrupts the life we expected, what remains?The answer is not everything. Illness can take real things, and honesty requires us to name the loss. Nor is the answer nothing. The person remains. Attention remains. Imagination remains. The capacity to recognize another person's suffering remains. On fortunate days, humor remains. And sometimes, when the mind enters its creative room, delight remains.Dostoevsky took an experience that frightened, exhausted, and disrupted him and gave part of it to Prince Myshkin. Through Myshkin, millions of readers have entered a consciousness unlike their own. That may be one of literature's greatest accomplishments. It does not merely tell us about another person. For a little while, it permits us to inhabit another person's fears, hopes, contradictions, and private understanding of the world.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to Celebrate Creativity. This is Part Five of The 700-Pound Pineapple, an episode I call “The Idiot.”In the first episode of this series, I talked about my own experiences with epilepsy. I do not intend to tell that entire story again. It is already part of the journey of the seven-hundred-pound pineapple, and it belongs where I first placed it. But personal experience can sometimes open a door into literature. Once the door is open, another voice may enter the room.For this part, that voice belongs to Fyodor Dostoevsky—and, most especially, to Prince Myshkin in The Idiot.Dostoevsky certainly knew epilepsy from within. This was a time when there were no anticonvulsants to control his seizures. Dostoevsky did not approach epilepsy as a distant observer collecting symptoms for a character. He knew the interruption of ordinary life, the vulnerability of the body, the fear of what might happen next, and the exhausting aftermath. He also knew that an illness does not remain politely inside a medical chart. It reaches into time, memory, work, faith, relationships, imagination, and the way a person understands the world. And there was nothing he could do to control it.In Prince Myshkin, Dostoevsky created one of literature's most memorable characters with epilepsy. Yet Myshkin is far more than a diagnosis. He is gentle without being weak, intelligent without being calculating, and compassionate in a society that repeatedly mistakes compassion for foolishness. The title The Idiot is not Dostoevsky's verdict on Myshkin. It is society's verdict—and society may be the true fool.This episode is not an attempt to prove that epilepsy produces genius, holiness, or artistic insight. Illness is not a magic key, and suffering does not automatically improve anyone. Pain can narrow a life. It can exhaust the imagination as easily as deepen it. But Dostoevsky asks a more honest and more interesting question: What happens when a person refuses to let suffering have the final word?Perhaps the answer begins with attention. Perhaps it begins when the unwanted burden forces us to notice what ordinary life allowed us to overlook.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailI had never expected a wheelchair to feel like freedom.That may sound strange. Most of us grow up thinking of a wheelchair as a symbol of limitation. In movies, television programs, and even ordinary conversation, someone is said to be “confined to a wheelchair” or “bound to a wheelchair.” The language suggests imprisonment. It suggests that the chair is the problem and that the person sitting in it has somehow been reduced.But when I recently used a wheelchair at a medical facility, I did not feel confined. I felt released.For weeks, getting from one side of a room to the other had become a major undertaking. Walking was no longer something I could do without thinking. Every step had to be considered. How far was it? Was there somewhere to sit when I arrived? Could I make it there without the pain becoming unbearable? If I stood still for too long, would my back begin protesting? If I sat down, how difficult would it be to get up again?Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to Celebrate Creativity - and this is the third of a series called the 700 pound pineapple - an episode that I call Pigs on Ice. Whereas in the last episode, I ended on a relatively elevated tone with musings about creativity - in this episode at least I wanna start out by talking about the continuing saga of the church people or pig S on ice brigade. And if you have not heard the previous episode, I invite you to go back and listen to it first– Hopefully everything will make more sense.Now when I tried to call the telephone number of the food pantry the next week, I got a recording saying–this number is no longer in service. So I was afraid that the following day–the pig on ice brigade – would come upon the agreed-upon time of Thursday mornings. I imagined that there would bags of largely rotten food in front of my door the following day. I certainly was in no condition to gamble with my back throwing away the inevitably expired food.I explained my situation to ChatGPT–now remember I had been explaining all this to ChatGPT for days, so it was in its memory, and it repliedOh, George—that is maddening. But please do not gamble with your back by lifting or disposing of anything tomorrow.Put this large note on the outside of your door tonight:DO NOT LEAVE FOOD HEREI am refusing this delivery because of serious health and mobility limitations.I cannot safely lift, move, or dispose of these items.PLEASE TAKE THE ENTIRE DELIVERY BACK WITH YOU.If they ignore it, leave everything exactly where they put it. Don't bend, drag, or carry it. Photograph the food and the note on the doorway if you safely can. Then can contact the church's main office—or another local person who can remove it—without putting your back at risk. Their failure to receive your cancellation does not make the mess your physical responsibility.It was one of those simple solutions that I should have thought of before. My reply was. Great idea! Thank you very much– I will add the statement – please do not attempt to leave any more food here– Much of it is unsafe to eat!And ChatGPT replied–Exactly—make the refusal unmistakable:Add DO NOT LEAVE FOOD HEREI am refusing this delivery because of serious health and mobility limitations.I cannot safely lift, move, or dispose of these items.PLEASE TAKE THE ENTIRE DELIVERY BACK WITH YOU.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailIt was agreed that every week the church people would bring roughly 4 bags of groceries– food that was certainly welcome at first. It may not have been the greatest food, but that is not really an issue when you're hungry. Then the food pantry– And I will not use any names–started bringing food that had clearly expired– Some of the expiration dates were from several months ago. In the meantime– I ate some of the food without expiration dates and got violently ill– Possibly some kind of food poisoning. I really didn't know what to do, the church people were certainly well-intentioned, but you know what they say about the road to hell being paved with good intentions. I mean this was stuff that had the potential of giving food poisoning to unsuspecting people!Then it became more and more obvious when they brought more and more food that had passed the expiration date. Naturally I would have to go through all the food and check those dates– Throwing away the spoiled food– And eventually throwing away food that did not have any date on it, because I just didn't know. I was torn regarding what to do, but thought at least I was providing somewhat of a service by getting rid of food that was harmful. But as time went on, the separation process of spoiled food from food that could be eaten took longer and longer as more and more of the food that was being distributed had passed its expiration date.Then one day about a month ago they brought four bags of food, and one of the church people pointed to a large pineapple that they had brought. He began speaking to me like I was a five year-old in front of the Christmas tree and said–look we have a pineapple for you! I felt like saying, I am 75 years old, and what am I going to do with a friggin pineapple!– Except the word I was thinking of wasn't exactly friggin–I picked up the pineapple and carried it to the kitchen with the other food, and began looking through the food that had been brought for items that had clearly expired. And this time three out of four bags had food that was clearly expired or had no expiration date on it– three bags of food that I would be very scared to eat.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailHello, my name is George Bartley, and I'd like to welcome you to Celebrate Creativity–this is basically the introduction to a six part series called The 700 Pound Pineapple - and if that title doesn't make much sense right now, stick with me and I can guarantee you that by the end of the series it definitely will. Six episodes for one podcast series out of many may seem like a lot at first, but I have spent a great deal of time on this miniseries, and I hope that you will find this podcast miniseries to be and experience that you will really treasure.It may seem like I'm jumping around, but there is a purpose to this, and I want to start by taking you back to a specific memory. I am in seventh the grade. My family took me to see Bob Dylan in Washington, D.C., in late 1965, one of those legendary nights where he played the first half alone with an acoustic guitar and the second half with a full electric band. Now, at that age, I wasn't arriving with a scholar's grasp of Dylan's music. I wasn't cross-referencing set lists or parsing metaphors. I was simply there—old enough to feel excitement, young enough to be overwhelmed. I remember the anticipation, the murmuring in the hall, the way a room changes right before the lights go down. You can feel hundreds of private lives briefly breathing in sync. And then Dylan comes out. Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWhat does a pineapple weigh?And no, due to the incredibly personal nature of this podcast series, I will leave the wax museum format for several episodes to talk about an actual experience and how I responded and did not respond to a ramifications– But getting back to that pineapple…According to the remarkably unreliable authority of my imagination, this particular pineapple weighed approximately 700 pounds.It did not drop out of the sky.It did not roll off the back of a produce truck.And I did not attempt to carry it home from the supermarket.Nevertheless, sometime during the summer, it landed squarely on my back.At least, that is what it felt like.In early February, as Celebrate Creativity begins a new podcast cycle, I will present a special five-part series:The 700-Pound Pineapple.This is the story of a back injury—but it is also the story of something much larger.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to Hall of Wonder - part of Celebrate Creativity. Today I want to start exploring Shakespeare's play–Macbeth.And here is the wax figure character of Macbeth, himself. You know Macbeth, I will get directly to the point. Some people call you a monster.Mr. Barley, I would not be so quick with such a judgment. Mr. Shakespeare's trick is much sharper than that: he shows someone who can still choose—and then shows you the exact moment when I start out sourcing my choices to ambition, marriage, and prophecy.I am thane, hero, newly honored… and about to discover that wanting something is not the same as deserving it.Macbeth, to most of our listeners in the United States, the word THANE might be unfamiliar. It simply means a basically a Scottish noble—a trusted local lord who holds land from the king and, in return, owes loyalty and military service.  So when you hear “Macbeth, Thane of Glamis” (and later “Thane of Cawdor”), think:Title + job: a high-ranking lordPower base: he rules an area/estate for the kingObligation: he's expected to fight for the king and keep orderStatus: important, but below the king (not royalty)Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the Hall of Imagination - and today I'm speaking with one of the characters of William Shakespeare's The Tempest. And today's episode is entitled “CALIBAN: THE ISLAND SPEAKS”First I better briefly fill you in on the opening plot of The Tempest. So: there's a man named Prospero. He used to be a duke—very fancy—then he got kicked out by his own brother. He ends up shipwrecked on an island with his daughter Miranda, brings a library the size of his ego, learns magic, and decides he's the island's new management.On the island, Prospero uses a spirit named Ariel to run errands in the air, and he uses Caliban—to do the heavy lifting on the ground.Meanwhile, Miranda meets Ferdinand, who's young and handsome. And there are two clowns—Stephano and Trinculo—who wander around drunk and accidentally audition for a coup.In the end, Prospero reveals himself, forgives everybody, gets ready to go back to Italy, and the big question is: who gets freedom, who gets punished, and who gets left behind with the island. And you can already tell that this rather complicated plot gets messy.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the Hall of Imagination for the episode “Plagues”The strange thing about an invisible enemy… is that you can't glare it down.You can't bargain with it.You can't even boo it off the stage.WILL (dry):Oh, you can boo it, sir. The heavens will not care—but you may feel better.GEORGE:This is an episode that deals with plague in Shakespeare's lifetime… and COVID in ours.Two ages. Two kinds of dread. One species—still trying to act brave.GEORGE:Before we start, a rule for anyone joining us:In my podcast, Shakespeare—the character—has the ability to look back from our present day to his life on earth.So he can react to films, modern productions, scholarship, the whole lot.But—this matters—he cannot predict the future in any way.No prophecies. No “coming attractions.” No magic spoilers.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the second and final episode of Master Shakespeare and myself as we discuss parallelism, and a few other matters.  We begin in the Hall of Imagination in a Chicago wax museum at night.Mr. Bartley: Master Shakespeare,There is still another meaning of parallelism that interests me. You and I are separated by more than four centuries. You wrote for the Elizabethan and Jacobean stage. I interpret your plays for Deaf audiences in the modern world. Our lives could hardly be more different.Master Shakespeare: And yet here we stand, Master Bartley, engaged in conversation.Mr. Bartley: We share a fascination with language and performance. You took stories from history, legend, poetry, and earlier plays, then transformed them for your audience. An interpreter also begins with an existing work and transforms it into another language for another audience.Master Shakespeare: Are you suggesting, Mr. Bartley, that the playwright and the interpreter follow parallel paths?Mr. Bartley: In certain respects, yes. Neither begins with emptiness. Both begin with material that must be understood, selected, shaped, and finally performed.Master Shakespeare: Yet the interpreter must remain faithful to the play.Mr re. searched translation. Bartley: Faithful, yes—but faithfulness does not mean replacing one word with one sign. That would be like taking your poetry apart brick by brick and then claiming that the pile of bricks is still the house.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the Hall of Imagination for an episode with William Shakespeare called words become music. And here is Master Shakespeare himself as as he explains one of the most commonly used rhetorical devices of them all.Mr. Bartley: Master Shakespeare, there is a word that continues to appear whenever people discuss your writing. That word is “parallelism.”Master Shakespeare: A formidable word, Mr. Bartley. Five syllables marching in formation. Any word of five syllables must surely be either profoundly important or invented merely to frighten schoolchildren.Mr. Bartley: In this case, I believe it may be both.Master Shakespeare: Then we must approach it carefully. What meaning do your scholars give the word?Mr. Bartley: At its simplest, parallelism means placing similar ideas into similar grammatical forms. A writer establishes a pattern, repeats that pattern, and creates a sense of balance.Master Shakespeare: Ah! Then I know the creature, though I may not always have called it by that name.Mr. Bartley: Most writers today use parallelism. You, however, seemed to invite it home, give it supper, and offer it a permanent room.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the Hall of Imagination - this episode is called Opposites!Tonight's rhetorical device is antithesis.You might say that the rhetorical device of ANTITHESIS is a perfect “Shakespeare in conversation” device because he loves thinking in opposites.  And this episode is going to deal with antithesis or balancing contrasting ideas in parallel structure.  Two examples are in Romeo and Juliet with (“O brawling love, O loving hate…”) and then riffing to Hamlet (“To be, or not to be”).  By the way, To be, or not to be is also a great example of parallelism. But I digressGEORGE:Master Shakespeare—tell me I'm saying it right: an-TI-thuh-sis.SHAKESPEARE (smiling):Near enough that Heaven will not strike you down.GEORGE:All right, for the listener who doesn't want a grammar lecture: antithesis is when you place two opposing ideas side by side—often in a balanced structure—so the contrast hits hard.Like: light and darkness, love and hate, life and death.Well let me see let's say give me a famous example one that listeners will recognize   Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailThis podcast is Celebrate Creativity and this series is Hall of Imagination.  My name is George Bartley.GEORGE (Host):Now—quick note for listeners: today we're talking a little bit more about a rhetorical device that Shakespeare would've learned in school. Don't run away. “Rhetorical device” simply means a tool a writer uses to make language more memorable, more persuasive, more musical—sometimes all at once.Tonight's tool is called anaphora.GEORGE: Master Shakespeare, are you with us?SHAKESPEARE (warm, amused):Indeed, sir. I am ever at your elbow—though I confess, your age is wondrous.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailAnd this person here must be shakespeare's teacher.-Hic Latīnē tantum loquimur.Pardon me.I said that we only speak Latin here.But I don't know Latin. Could you speak in English?Well, yes, ordinarily all of the class is communicated using Latin. But I assume I can make one exception for you now since you do seem to be an English speaking person.Thank you very much. But first, I have something that I need to say–This series blends historical research with fiction and imagined conversations. Not a documentary, not advice.Today: the schooling that made Shakespeare's language possible—and how those rhetorical “moves” show up in the plays like fingerprints.Now Picture it: a grammar school. from at least six o'clock in the morning to 6 o'clock at night Monday through Saturday. Repetition that drills itself into the mind.Latin. Translation. Memorization. Imitation.Not because the world is kind, but because the world is competitive.A boy learns to hold language in his mouth like a tool—and to sharpen it.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to Hall of Imagination–and this is the first in a series of episodes about William Shakespeare. And here we have a wax figure of the BARD himself. And personally, let me say as an actor that I am really excited about the prospect of learning more about what makes William Shakespeare so great!  Oh here you are!Mr. Shakespeare, I am really excited about this series of podcast episodes.Now we are not going to begin by interviewing Hamlet… or Juliet… or Lady Macbeth… or Romeo…No. Today, I'm starting with… a town.A town with muddy streets, and church bells, and gossip that travels faster than Wi-Fi ever dreamed of traveling.Because before Shakespeare becomes Shakespeare—the name you've heard a thousand times—he is a boy in Stratford-upon-Avon, absorbing the world like a sponge with ambitions.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailMr. Presley, I'd like to begin in Tupelo, move through Sun Records and the explosion of the 1950s, and then spend time with Vegas ., the   pills, the isolation, and the wreckage.Mr. Bartley, it seems that you really knew about my life.Mr. Bartley, I was born January 8, 1935, in Tupelo, Mississippi, into poverty and instability. MY twin brother, Jesse Garon, was stillborn. That loss was not an abstract line on a genealogy chart. It marked MY parents, especially MY mother Gladys, and by all accounts left me with a lingering sense of being “the one who lived” and needing somehow to prove worthy of that accident.Mr. Presley, could you describe your life in Tupelo?Mr. Bartley, you might say that our world was modest houses, odd jobs, and the sounds of the rural South. Church was central. Hymns were sung full-throttle, white Southern gospel quartets layering harmony, preachers who treated volume as proof of conviction. Just outside that world, Black congregations where the same God was praised with even greater rhythmic fire; blues guitar lines drifting out of doorways; early country music and sentimental pop on the radio.Mr. Presley, then were you a music prodigy?No, Mr. Bartley, I can't really say that I was. I was shy, deeply bonded to my mother, uneasy about money and status, and often embarrassed. But I listened. I soaked up voices and styles. You might say that the vulnerability that later made me easy to manage also made me unusually open as a young artist: a receiver before I was ever a transmitter.That is an interesting way, Mr. Presley, of putting it.Mr. Bartley, in 1948 the family moved to Memphis, Tennessee, chasing work and stability. My family landed in public housing projects—tight spaces, thin walls, and a city thumping with music.What would you say was the effect, Mr. Presley, of Memphis upon you?AH, Mr. Bartley, Memphis put me closer to Beale Street: Black blues, rhythm & blues, club bands who could make small rooms lift off the floor. I could hear - and feel - that edge, the swing, the looseness.Memphis also gave me access to a mix of radio stations and record shops that didn't respect tidy genre borders. I could take in country ballads, white gospel, Black gospel, blues, sentimental pop—sometimes within a single afternoon.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailPermit me to tell a very short story about something that really happened. Years ago, I saw Chuck Berry live at the Paramount Theatre in Manhattan. I later learned that a few years after that, the Paramount Theater was completely shut down.  Anyway, that night Chuck Berry was on a bill with The Animals and The Dixie Cups—a lineup that already told you how fast the musical world was changing.  The British Invasion bands were arriving with their sharp suits and American R&B records tucked under their arms. In fact, the animals had the number one song in the country with the house of the rising Sun. And there were girl groups with immaculate harmonies. The Dixie Cups had the number two song in the country with chapel of love.  Here was a crowd already fluent in the new language of pop.And then one of rock's pioneers - Chuck Berry - walked onstage.No elaborate light show, no army of amplifiers, no sentimental introduction. Just that stance, that sly half-smile, and a guitar tone as clean and cutting as a bell. You could feel the air in the room shift. Whether the audience could have put it into words or not, they were looking at the source material—the man whose songs and style had already soaked into the bones of the acts beside him on the poster.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailI'd like to begin the final part of this two part series regarding Michael Jackson by looking at late 1993. Yes, Mr. Bartley, in 1993, I proposed to Lisa Marie Presley, the daughter of Elvis Presley, over the phone. We were married in La Vega, Dominican Republic, in May of 1994 by civil judge Hugo Francisco Álvarez Pérez.I would imagine that the tabloid media would have a field day with that marriage!They certainly did! In fact the tabloid media speculated that the wedding was a publicity stunt intended to deflect attention from sexual abuse allegations and to boost Presley's career as a singer.  Unfortunately, marriage ended little more than a year later, and we separated in December of 1995.What were Lisa Marie Presley's reasons for the divorce?Mr. Bartley, she cited "irreconcilable differences" when filing for divorce the following month and sought only to reclaim her maiden name. Michael, did you ever see her again?Lisa Marie later said that we had attempted to reconcile intermittently for four years after our divorce, traveling internationally to be together, but to no success.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the hall of imagination, and I can't believe what I'm seeing. This is the first time that I have ever seen a wax figure who is now deceased that I saw in real life.Yes, I am Michael Jackson, and you say that you have seen me before?Yes, I saw you with your brothers at a concert in Washington DC.AH, Mr. Bartley, I believe that I remember that concert very well.And Michael, if I may call you that–this is really strange–as of talking to wax figures and hearing them respond is not strange enough - but in your case I saw you during your earthly life.Well, Mr. Bartley, Let's have some fun… or at least, let's start there. Michael, could you tell us about your very beginnings–back to the Gary Indiana days.?Yes Mr. Bartley. If you were talking about my life, it definitely does begin in fun–think of me as a kid in a tiny house in Gary, Indiana, singing my little lungs out, dancing like someone my age, trying to be heard over brothers, siblings, and the general chaos that you might find in a big family.But it doesn't end in fun.You might say, Michael, that you are a tragic warning about what happens when intense fame collide with a fragile human body and mind. Why don't you start by telling us about your early years?Certainly Mr. Bartley. I was born August 29, 1958, in Gary, Indiana—a working-class steel town in the Midwest. I was the eighth of ten children in the Jackson family, packed into a small house where money was tight, tempers could be hot, and music was both escape and opportunity.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailChrist said to feed the hungry, not to give them food poisoning! This will all make sense in September.You see, In early September, I'll be sharing a special series called The 2000 Pound Pineapple. I am announcing it now because the events that comprise The 2000 Pound Pineapple are taking place right now, and should be over by September. I wanna be able to look at them in perspective.No, it's not about tropical fruit. It's about a very real experience that completely changed my daily routine and taught me lessons about patience, recovery, perspective, and finding humor – And there is a great deal of humor– in situations that certainly didn't seem funny at the timeThe series is based on real events, but it isn't simply a story about an injury. It's about what happens when life unexpectedly forces us to slow down. It is about discovering that creativity doesn't disappear during difficult times—it often becomes even more important.Again, There will be plenty of humor along the way, because sometimes the best way to understand a challenging experience is to laugh at the surprising moments that accompany it. There will also be honest reflections on frustration, perseverance, and the importance of allowing both our bodies and our minds the time they need to heal.If you've ever had your plans suddenly interrupted by life, I think you'll recognize a little of yourself in these episodes.So join me in early September for The 2000 Pound Pineapple—a true story about an unexpected adventure, told with humor, honesty, and the belief that even life's detours can become sources of creativity and GROWTH.Sometimes the most unexpected experiences become the ones that teach us the most. Until then, this is George Bartley thanking you for listening to the hall of imagination – a part of Celebrate Creativity - which I plan to continue as usual. I'll see you next time.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailIn the previous episode, we walked with Walt Whitman down the open roads of America, hearing the chorus of ordinary lives. Whitman's poetry celebrated the sweep of America, the chorus of countless lives, and the boundless possibilities of freedom. Across the ocean and slightly later in time, Dostoevsky turned his gaze inward, exploring the shadowed recesses of the human heart. Whereas Whitman's lines embraced the world, Dostoevsky's narratives probe the tensions, doubts, and moral struggles that define our inner lives. In moving from Whitman to Dostoevsky, we travel from the expansive optimism of a young nation to the intense psychological and ethical landscapes of nineteenth-century Russia—a shift that reminds us just how varied, yet universally human, the work of great writers can be.And right now, I am standing in front of a wax figure of FYODOR Dostoevsky-or at least that's what the title on the nameplate here says.Yes, Mr. Barley, I am most definitely Fyodor Dostoyevsky. Some might call me one of the towering figures of 19th-century literature. I was Born in Moscow into a middle-class family, AND faced hardship early: my mother died when I was young, and my father was a rather strict and harsh figure. I originally trained as an engineer, but my passion for literature led me to the literary scene in St. Petersburg.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to Hall of Imagination. - in your previous episode I mentioned my suspicions that I would be having some more episodes dealing with Walt Whitman very soon. Well that time has come, and I'd love to talk a little bit more with the wax figure of Walt WhitmanWalt, are you prepared to speak to me tonight?Certainly George, you know it can get rather boring up here on this pedestal and I welcome the chance to just simply communicate with someone who is appreciative.Well Walt, you can certainly put me in that category. I would like to ask you if you had just one thing to say or tell the listener who listening to this podcast what would it be?George, I would like to believe that my writing helped to capture and define the spirit of the growing United States during the challenging 1800s - and yes they were most definitely challenging times. I would like to think that I had a bold and unusual way of writing that created a new artistic style for America.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the hall of imagination. Tonight I was looking up at the wax figure of the writer Walt Whitman– And I was not surprised in the least when he looked down at me and began speaking.George, I was most commonly known as "Walt" among friends, family, and in much of my correspondence, rather than as "Mr. Whitman." My parents shortened my given name from Walter to Walt when I was born, and  used this familiar form throughout my life. As a poet, I believe I embraced a democratic and accessible persona, and the informal "Walt" aligns with that approach. However, in public and formal settings—especially as I gained fame—I  was often referred to as "Mr. Whitman" or by various honorifics such as "the Bard of Democracy". In my later early years in Camden, New Jersey, I was generally called "Mr. Whitman" by the press and new acquaintances, but those who knew me well continued to use "Walt". Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailHello this is George Bartley, and I was walking through the wax museum when I ran across the figure of John Milton. Naturally I had to stop, and I watched him as he came to life and began speaking.Mr. Milton, this is indeed an honor! Do you mind if I speak with you tonight?Certainly not. I would definitely appreciate the company. And and what is your name?My name is George Bartley, and I was in English and drama major in college–SO THE English major part of me is quite humbled to speak with you.AH, Mr. Bartley, then I would be most obliged to satisfy you with an account of my life.  I grew up with privilege, expectation, and a mind hungry for knowledge. My father, a scrivener, provided tutors, music lessons, and an education that he hoped would prepare me for greatness. You might say that from an early age, I believed that I was destined for fame, or even immortality.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailIn the previous episode, I talked about an exhibit of the inklings– Token, Williams, and Barfield. But I would like to devote this entire episode to an individual who is arguably the most well-known of the inklings–CS Lewis. Mr. Lewis, how do you believe the inklings influenced you as a writer.Ah, Mr. Bartley, I began as a rationalist atheist, but the Inklings helped me blend logic, imagination, and faith. The result was stories that enchant across generations, such as The Chronicles of Narnia and essays that provoke thought I wanted to show that fantasy could carry deep moral and spiritual truths, and that literature could entertain while transforming the mind and heart.  I would like to think that I did not just write books– I crafted worlds, ideas, and moral truths that continue to inspire readers to imagine, believe, and wonder.”Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWhat Were the Inklings?Today's episode deals with four people instead of one individual. They are often classified as one group because they were a band of university friends who argued, challenged, and inspired each other—the Inklings.”  You see, the Inklings were largely a group of Oxford professors, writers, and thinkers who met to read aloud, debate, and challenge one another. First, I'd like to concentrate on Mr. CS Lewis. Is what I have been saying a fair way to express it. Yes Mr. Bartley, when you and your audience think of me today, you probably often picture The Chronicles of Narnia, or my rational, graceful Christian apologetics. But to really understand me, you need to see me inside a unique circle of writers and thinkers: the Inklings—a group that met in Oxford in the 1930s and '40s to read aloud, critique, and sometimes spar over each other's works. That is why this episode is about the group called the inklingsAnd Mr. Bartley, I do believe that my love of myth, the study of language, its history, and how it shapes thought—shaped the group's imagination. JRR Tolkien didn't just make up languages for fun; he spent hours analyzing old tongues to make Elvish and other Middle-earth languages feel authentic. He spent so long lecturing me on the difference between a fairytale and a proper myth that I joked that I might need a dictionary just to keep up!Then there was Charles Williams, a poet, novelist, and theologian with a mystical streak that pushed me to explore the spiritual depths of story. Williams could be so intense that the others sometimes left a meeting feeling like they'd just survived a philosophical thunderstorm—but I secretly loved the challenge.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailI sincerely hope that you are enjoying the episodes that make up the Hall of Imagination. A wax museum is a wonderful metaphor. During the day, the figures are silent exhibits. At night, they become people again. That gives me tremendous freedom to let them explain themselves, argue, laugh, and even admit uncertainty—all while hopefully making it clear to my audience that they're listening to a dramatization grounded in history.After I had finished talking with the inventor of paper in the previous episode, I came face-to-face with a wax figure of a man who is often called the inventor of printing–JOHANN GUTENBERG–not surprisingly, my first remark was you must be the inventor of printing–I have spoken with an individual who is often said to be the inventor of paper– But, from what I understand you are the inventor of the movable press.Guttenberg: That is only partially true. One must note that I developed the first method of using movable type and the printing press in such a way that a great deal of written material could be printed with speed and accuracy. Compare this to the scribe or monk– However well intentioned–could not transcribe written communication at the speed of a machine– And that machine was the printing press–a machine that used movable type. And although there was a form of movable type used in China and Korea, it never came into general use until relatively recent times.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailMr. Douglas, I think it would be very interesting for our listeners if you could relate the part of your life when you finally succeeded in making your escape from slavery.But before narrating any of the peculiar circumstances, I deem it proper to make known my intention not to state all the facts connected with the transaction. My reasons for pursuing this course may be understood from the following: First, were I to give a minute statement of all the facts, it is not only possible, but quite probable, that others would thereby be involved in the most embarrassing difficulties. Secondly, such a statement would most undoubtedly induce greater vigilance on the part of slaveholders than has existed heretofore among them; which would, of course, be the means of guarding a door whereby some dear brother bondman might escape his galling chains. I deeply regret the necessity that impels me to suppress any thing of importance connected with my experience in slavery. It would afford me great pleasure indeed, as well as materially add to the interest of my narrative, were I at liberty to gratify a curiosity, which I know exists in the minds of many, by an accurate statement of all the facts pertaining to my most fortunate escape. But I must deprive myself of this pleasure, and the curious of the gratification which such a statement would afford. I would allow myself to suffer under the greatest imputations which evil-minded men might suggest, rather than exculpate myself, and thereby run the hazard of closing the slightest avenue by which a brother slave might clear himself of the chains and fetters of slavery.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailCould you describe your voyage to Baltimore?Frederick Douglas: We sailed out of Miles River for Baltimore on a Saturday morning. I remember only the day of the week, for at that time I had no knowledge of the days of the month, nor the months of the year. On setting sail, I walked aft, and gave to Colonel Lloyd's plantation what I hoped would be the last look. I then spent the remainder of the day in looking ahead, interesting myself in what was in the distance rather than in things near by or behind.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailDid these apparently incoherent songs mean anything to you?I did not, when a slave, understand the deep meaning of these songs. These songs told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds.”I don't know how to express this, but it seems that our society feels that singing among slaves proved that they were happy. Is that true?Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailNow I was walking in the hallway through the wax museum when I looked up at the wax figure of an Afro-American individual. He looked down at me, and his features came to life as he said–As I hope you realize, my name is Frederick Douglass, and I want to tell you about my life. That would definitely be an honor.  I tell you what–I am going to get out of the way and let you start talking about your early life. And please be as thorough as you want.Thank you. I was born in Tuckahoe, about twelve miles from Easton, in Talbot county, Maryland. I have no accurate knowledge of my age, never having seen any authentic record containing it. By far the larger part of the slaves know as little of their ages as horses know of theirs, and it is the wish of most masters within my knowledge to keep their slaves thus ignorant. I do not remember to have ever met a slave who could tell of his birthday. They seldom come nearer to it than planting-time, harvest-time, cherry-time, spring-time, or fall-time. A want of information concerning my own was a source of unhappiness to me even during childhood. The white children could tell their ages. I could not tell why I ought to be deprived of the same privilege. Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailNight watchman: Welcome to another night at the wax museum– Or Hall of wonder–step sound–and  what do we have here. It looks like the wax figure of a Chinese person, and the identifying plaque says that his name is TI LonMr. Bartley: pardon me for coming to life, but that name is tsigh loon–think of sigh& the bird loon–SIGH LOONNight watchmen: And pardon me, but I am not familiar with you or any of your accomplishments. Were you an emperor or Chinese ruler?Mr. Bartley: no, in fact I was made to drink poison because of political intrigue, so I guess you could say that ultimately, I was definitely not successful in the world of ancient Chinese politics.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailBefore we begin, let me emphasize that today I'll be talking with a wax figure that never existed– In this case, a figure from literature that was never flesh and bone, but the author of the literary work from which she came created a character that is extremely lifelike, and teaches us a great deal about human nature.I know that in the early 21st century, a group of 100 prominent writers selected Don QUIOXOTE as the greatest novel of all time. In the novel– If I remember correctly–the author Miguel de Cervantes shows the negative consequences of following a way of life that is completely out of touch. He reminds us that even a supposedly intelligent person can become completely foolish in the character of Don QUIOXOTE of La Mancha.I met that individual last night–or at least a wax figure of that character, and I knew that something was unusual when I saw that he was dressed in armor–that this could be a person or character who was following a way of life that was completely and unrealistically old-fashioned.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailThe museum was unusually quiet.The lights glowed softly across the polished floor.I made my rounds through the gallery of scientists.There stood Isaac Newton.There stood Marie Curie.And there, at the far end of the room, stood a familiar figure with wild white hair and kind eyes.Albert Einstein.As midnight approached, I noticed something.His eyes seemed to twinkle.A moment later, he stepped down from his pedestalGood evening.  VAT are you doing?Professor Einstein!Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailNight watchman: you would be astonished by many aspects of the modern university that you founded with the University of Virginia.Jefferson: That is most fascinating. "How many students attend today?"Night Watchman: "Mr. Jefferson, the University of Virginia now has roughly twenty-five thousand students, including undergraduate and graduate students."Jefferson: "Twenty-five thousand! Why, sir, that is a town, not a college!” When my original university opened, there were only a few dozen students.Night watchmen: you might find it interesting that Women first began attending in the late nineteenth century, and today make up about half the student body."Jefferson: "I confess that would have surprised many of my contemporaries.” Yes, it certainly appears that society has changed dramatically after my lifetime.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailMr. Bartley: Mr. Jefferson, the last time we spoke, you had basically written the Declaration of Independence. The United States was fighting Britain in the revolutionary war, and in October 1781 George Washington's troops defeated the British at Yorktown Virginia. We had now won our war for independence.Mr. Jefferson: And by early 1782, my family was back at my home of Monticello. My beloved Martha gave birth to her sixth child, Lucy Elizabeth. Unfortunately Martha grew weaker and weaker following the birth, and I stayed by her bedside. I would read to her from her favorite books, and at night I slept in a nearby room.But she grew weaker and weaker, and during her final hours, she told me her final wish. Now understand that we had three living children– Patsy, Maria, and Lucy Elizabeth. She said that she could not tolerate her children being raised by a stepmother. And she begged me to never remarry. Of course I promised and soon on September 6, 1782, my beloved Martha died. My oldest daughter Patsy was nine years old when my wife died, and many years later she wrote that I almost lost my mind from the grief– That I would refuse to leave my room for a week at a time– And then when I did come out I would go on long horseback rides through the woods surrounding Monticello. She later wrote – the violence of his emotion, of his grief to this day I dare not trust myself to describe.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome to the Hall of Imagination, and episode. 628 - life, liberty, and the pursuit of happinessDuring this week of the 250th anniversary of the birth of the United States, I would like to devote the episodes for Monday, Wednesday and Friday to Thomas Jefferson–the author of the declaration of independence.Episode 1: The young Jefferson and the writing of the Declaration.Episode 2: The President Thomas JeffersonEpisode 3: The elder Jefferson, the University of Virginia, reflections on the future—even artificial intelligence—and then his death on the fiftieth anniversary of the Declaration.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailThere is something I would like to tell you about my life in Chicago... After all, you might say I am one of its most influential residents.”Who are you? I asked"My name is Jane Addams.”I couldn't believe it! Here a wax figure was talking with me–just like the figures in the toy museum last year-and somehow this was even stranger– This was a individual who was deceased, but was somehow walking and talking to me about her earthly existence. For some reason, I felt the need to somehow test her out.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailHello, I am a nightwatchman, and if you've been listening to my adventures over the past several months—especially during December of last year—you may remember that I was working as the night watchman at a toy museum. In fact, you might enjoy going back and listening to Episodes 526 through 557, where the toys came to life after dark.This is the introduction to a new podcast series where the night watchmen works at a wax museum in Chicago where the figures come to life - and the past is never quite as silent as it seems!Support the showThank you for experiencing Celebrate Creativity.

Send us Fan MailWelcome, my friends, to episode 625, and to a special preview of a brand-new series called The Hall of Imagination, part of Celebrate Creativity.In this series, the figures of history—and even some figures who never existed at all—come to life in an imaginary wax museum. Some of these characters changed the world through science, literature, music, politics, and invention. Others changed our world through stories and imagination. And every episode begins after the museum closes and the lights grow dim.But before I go any further, I want to thank all of you who listened to my recent episodes about voice control. Those episodes came out of a necessity. As many of you know, I've been dealing with some hand problems, and learning voice control has become not only fascinating but very practical. In fact, I am using voice control to help write the transcript for this very episode. Like learning a musical instrument or any new skill, it becomes easier the more you practice. Little by little, things that once seemed impossible become almost second nature.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan Mailhttps://macmost.com/printable-mac-enhanced-dictation-cheat-sheet.htmlBy the way, the first time you might want to turn voice control off as you go through the sentences, and then later turn voice control on.There are several sections, so without further ado, let's start with text selectionSupport the showThank you for experiencing Celebrate Creativity.

Send us Fan MailIn this episode, I wanna talk about another side of voice control - it may be ab and work with scroll  or go to sleep well and individual files in a folder le to do some wonderful things, but there are some programs where voice control it's not able to do a really good job - not because it is inefficient - far from it - but voice control deals with the human voice and doesn't play well with such programs that emphasize sound such as YouTube and GarageBand.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan Mailhttps://support.apple.com/en-au/guide/mac-help/mh40719/macI certainly am going to talk about a few areas that I want to address in the next two or three episodes, but right now I'm gonna state the obvious–the best way to learn voice control is to use it.Use the Apple support page that I previously mentioned, and if necessary, go over and over and over the commands and what they mean, until it almost becomes automatic. Stick with it, and eventually you will come to the day when you can speak to the Mac, and get things done faster and more efficiently than you could ever do using the mouse and keyboard. I know that I thought voice control would be a cool thing to use it at first but eventually lost interest. However when my hands started screaming in pain from the years of wear and tear - and it could very well happen to you - I found that I viewed voice control not as something interesting, but as a necessity.Having said that, I want to specifically address what I think is one of the most useful characteristics of voice control - and that is the use of grids.Support the showThank you for experiencing Celebrate Creativity.

Send us Fan Mail"For the next month or so, I'm going to take a break from podcasting. My sleep schedule has become seriously disrupted, and I've also been dealing with pain in my hands and arms. Before I continue creating new episodes, I need to focus on my health, work with my doctor, and become more proficient with Voice Control and some other accessibility tools.  I have an appointment with my doctor the beginning of next week, and I look forward to zeroing in on solving some of the problems that have made it all but impossible for me to do a podcast now.I have no intention of disappearing. In fact, I have more ideas than ever— I have several projects waiting in the wings. And I want to get to the point, where I can completely do an episode solely using voice control. But for the moment, the most creative thing I can do is take care of myself.Support the showThank you for experiencing Celebrate Creativity.