Podcasts about adapted

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Trait with a current functional role in the life history of an organism maintained and evolved by natural selection

  • 1,123PODCASTS
  • 3,678EPISODES
  • 58mAVG DURATION
  • 4DAILY NEW EPISODES
  • Jan 25, 2022LATEST
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Latest podcast episodes about adapted

One of Us
Screener Squad: Station Eleven

One of Us

Play Episode Listen Later Jan 25, 2022 23:41


STATION ELEVEN SERIES REVIEW The end of the world never looked more Shakespearean than it does in HBO Max's newest miniseries Station Eleven. Adapted from the book by Emily St. John Mandel, the story occurs as a deadly flu virus spreads across the globe (unusually timely given the fact this was written and partially filmed… Read More »Screener Squad: Station Eleven

My Take On It with Your Angelic Karma®
When Men Face Sexism. Raising Well Adapted Compassionate Children. | Men are More Capable

My Take On It with Your Angelic Karma®

Play Episode Listen Later Jan 19, 2022 52:25


Freelancing for Journalists
How to appraise yourself: Part 2

Freelancing for Journalists

Play Episode Listen Later Jan 5, 2022 31:17


In this bonus episode Lily and Emma return to the appraisal they conducted on each other six months ago to hold one another accountable. We find out how many of their action points were achieved and how useful the process was. Resources How to appraise yourself original podcast episode https://freelancing-for-journalists.captivate.fm/episode/how-to-appraise-yourself Original appraisal form by Laura Oliver, Society of Freelance Journalists: https://docs.google.com/document/d/1oy5YhMO1pBxIyXj6phUr_ApEorqT1OIPi7tIm45aMb4/edit?usp=sharing (https://docs.google.com/document/d/1oy5YhMO1pBxIyXj6phUr_ApEorqT1OIPi7tIm45aMb4/edit?usp=sharing) Adapted appraisal form used by Lily and Emma in their first appraisal episode: https://docs.google.com/document/d/1gZd2JfSEjjLPdluCOS7ogRMgLX5q5g8vMSdBhW7q9vw/edit?usp=sharing (https://docs.google.com/document/d/1gZd2JfSEjjLPdluCOS7ogRMgLX5q5g8vMSdBhW7q9vw/edit?usp=sharing)

Pop Culture Happy Hour
The Lost Daughter

Pop Culture Happy Hour

Play Episode Listen Later Jan 5, 2022 13:50


In the Netflix film The Lost Daughter, Olivia Coleman plays Leda, a professor on a working holiday in Greece who becomes fascinated by a young mother played by Dakota Johnson. This leads Leda to think about her own past, and to flashbacks in which the young Leda is played by Jessie Buckley. Adapted from the 2006 Elena Ferrante novel of the same name, The Lost Daughter marks the directorial debut of Maggie Gyllenhaal. The film also stars Peter Sarsgaard, Ed Harris, and Paul Mescal.

The Current
Work in Progress: Sun Life Canada president on how his company adapted to the pandemic

The Current

Play Episode Listen Later Jan 5, 2022 19:12


In our new series, Work in Progress, we explore how COVID-19 has changed workplaces and the future of work. Our series debuts with an interview with Jacques Goulet, president of Sun Life Canada, who talks about how his company adapted to the pandemic.

AJ Daily
1-4-22 Market Closeout: In Search of Better; White House launches action plan to restore competition in the U.S. cattle industry

AJ Daily

Play Episode Listen Later Jan 4, 2022 4:46


1-4-22 AJ DailyMarket Closeout: In Search of BetterAdapted from a release by Troy Marshall, American Angus Association White House Launches Action Plan to Restore Competition in the U.S. Cattle Industry  Adapted from a release by Lia Biondo, United States Cattlemen's Association Farmers and Families Deserve Fair Meat Prices Adapted from a release by the American Farm Bureau Federation Ranch Group Recognizes Progress but Skeptical of White House Action Plan Adapted from a release by R-CALF USA Compiled by Paige Nelson, field editor, Angus Journal. For more Angus news, visit angusjournal.net. 

AJ Daily
1-3-22 Bad news, good news; farmers, ranchers struggle with hog-wild feral swine population; sustainability webinar to be hosted by the Global Roundtable for Sustainable Beef

AJ Daily

Play Episode Listen Later Jan 3, 2022 3:23


1-3-22 AJ DailyBad News, Good NewsAdapted from an article by Troy Smith for Angus Beef Bulletin Farmers, Ranchers Struggle With Hog-Wild Feral Swine Population Adapted from a Market Intel article by the American Farm Bureau Federation Sustainability in the Real World: A Walkabout With Producers, Next GRSB WebinarEastern Hemisphere registrationWestern Hemisphere registration Adapted from a release by the Global Roundtable for Sustainable Beef Compiled by Paige Nelson, field editor, Angus Journal. For more Angus news, visit angusjournal.net.

Lit to Lens
51. 2021: An Adapted Year In Review

Lit to Lens

Play Episode Listen Later Jan 2, 2022 33:50


One last conversation before we bid adieu to 2021, a year that wasn't much better than the previous. But nonetheless, we discuss our Top 3's of the year. Our favorite movies released this and books we read this year (regardless of when they were released). Cheers to 2021, may 2022 be infinitely better! Happy New Year to all you LTLiens out there! Give it a listen! If you have time, please rate and review! We want to find more listeners like you! Twitter: @littolens Instagram: @littolens Blog: www.littolensblog.wordpress.com Email: littolens@gmail.com

The Archers Omnibus
The Ambridge Mystery Plays: The Passion

The Archers Omnibus

Play Episode Listen Later Jan 2, 2022 56:53


2/2 The Passion Queen of Ambridge amateur theatricals, Lynda Snell, takes charge of this brand new adaptation of the Mediaeval dramas. Join the cast of The Archers for the second part of this unique promenade production around Ambridge, portraying the life of Jesus from baptism through to the Resurrection. Adapted by Nick Warburton Director …. Kim Greengrass Executive Editor …. Jeremy Howe Technical Producers …. Andy Partington & Vanessa Nuttall Production Coordinators …. Sally Lloyd & Andrew Smith Jesus …. James Cartwright Mary …. Alison Dowling John the Baptist …. Ian Pepperell Peter …. Charlotte Martin John …. Nick Barber Andrew …. Ryan Kelly Judas …. Ian Pepperell Caiaphas …. Paul Copley Annas …. Katie Redford Pontius Pilate …. Nick Barber Malchas …. Alison Dowling 1st Torturer …. Annabelle Dowler 2nd Torturer …. Charlotte Martin 1st Soldier …. Katie Redford 2nd Soldier …. Ian Pepperell Mary Magdalene …. Annabelle Dowler Joseph of Arimathea …. Paul Copley Other parts played by members of the company. A BBC Audio Drama Birmingham production.

The Archers
The Ambridge Mystery Plays: The Passion

The Archers

Play Episode Listen Later Jan 2, 2022 57:01


2/2 The Passion Queen of Ambridge amateur theatricals, Lynda Snell, takes charge of this brand new adaptation of the Mediaeval dramas. Join the cast of The Archers for the second part of this unique promenade production around Ambridge, portraying the life of Jesus from baptism through to the Resurrection. Adapted by Nick Warburton Director …. Kim Greengrass Executive Editor …. Jeremy Howe Technical Producers …. Andy Partington & Vanessa Nuttall Production Coordinators …. Sally Lloyd & Andrew Smith Jesus …. James Cartwright Mary …. Alison Dowling John the Baptist …. Ian Pepperell Peter …. Charlotte Martin John …. Nick Barber Andrew …. Ryan Kelly Judas …. Ian Pepperell Caiaphas …. Paul Copley Annas …. Katie Redford Pontius Pilate …. Nick Barber Malchas …. Alison Dowling 1st Torturer …. Annabelle Dowler 2nd Torturer …. Charlotte Martin 1st Soldier …. Katie Redford 2nd Soldier …. Ian Pepperell Mary Magdalene …. Annabelle Dowler Joseph of Arimathea …. Paul Copley Other parts played by members of the company. A BBC Audio Drama Birmingham production.

The Archers
The Ambridge Mystery Plays: The Passion

The Archers

Play Episode Listen Later Jan 2, 2022 56:53


2/2 The Passion Queen of Ambridge amateur theatricals, Lynda Snell, takes charge of this brand new adaptation of the Mediaeval dramas. Join the cast of The Archers for the second part of this unique promenade production around Ambridge, portraying the life of Jesus from baptism through to the Resurrection. Adapted by Nick Warburton Director …. Kim Greengrass Executive Editor …. Jeremy Howe Technical Producers …. Andy Partington & Vanessa Nuttall Production Coordinators …. Sally Lloyd & Andrew Smith Jesus …. James Cartwright Mary …. Alison Dowling John the Baptist …. Ian Pepperell Peter …. Charlotte Martin John …. Nick Barber Andrew …. Ryan Kelly Judas …. Ian Pepperell Caiaphas …. Paul Copley Annas …. Katie Redford Pontius Pilate …. Nick Barber Malchas …. Alison Dowling 1st Torturer …. Annabelle Dowler 2nd Torturer …. Charlotte Martin 1st Soldier …. Katie Redford 2nd Soldier …. Ian Pepperell Mary Magdalene …. Annabelle Dowler Joseph of Arimathea …. Paul Copley Other parts played by members of the company. A BBC Audio Drama Birmingham production.

Fashion
Covid-19 and more: How the fashion world adapted in 2021

Fashion

Play Episode Listen Later Dec 31, 2021 6:20


The year 2021 didn't get off to a great start, to say the least. The Covid-19 pandemic had already brought the world as we knew it to a standstill, and this year – once again – Fashion Weeks from London to New York were struck from calendars in the same of social distancing. But nevertheless, fashion has always known how to adapt. A new-found focus on inclusive casting and sustainable processes has been the result. FRANCE 24 takes a look back at some of the year's fashion highlights.

Morning Light Meditations
Forgive Yourself Everything

Morning Light Meditations

Play Episode Listen Later Dec 31, 2021 10:11


This meditation is designed to reclaim the sovereign power of your innocence and to forgive yourself, and everyone else, for everything. The 14th Dali Lama has urged us to use Green Tara's mantra often right now. Every syllable in this mantra has a code, a key, to unlock your innocence. OM - Opens the door. OM invokes Tara's Presence as a guide to release suffering and as a mentor for your happiness TARE - The seed syllable TARE declares that you are laying down your attachments to suffering in exchange for non-circumstantial happiness and reconciliation with your divinity. TUTTARE - TUTTARE is seeded sound wave of self-love that liberates your awareness from the eight great fears by taking refuge in your own divinity. TURE – TURE helps you release all judgments about anything or anyone as “other' than yourself. This seed syllable declares your oneness with all beings as the root of your happiness that is sovereign from all attachments to suffering. SOHA- SOHA the final seed syllable seals the momentum of goodness that arises from speaking Green Tara's mantra within your heart. SOHA illuminates the pathway of divine power within you so that you may always remember to take refuge in the radiance of your own High Holy Self. Adapted from The Sophia Code by Kaia Ra. This meditation contains Jennifer's musical version of this mantra.  Michael Gayle accompanies her on guitar and vocals.  If you'd like to see the video of Om Tare Tuttare Ture Soha click here. You can find most of the music on these podcast on Spotify or Apple Music Make sure you've signed up to be notified via email for the Morning Light Meditations. https://angelsofabundanceascensionacademy.com/morning-light-meditations/ If this podcast supports you spiritually, please consider fueling it with your financial support.  Any amount is appreciated. https://Patreon.com/JenniferandMichael  

Scary Stories Around the Fire

A man packing late into the night begins to question if he's alone in his apartment. Featuring Aaron Holland and Shannon Leigh Webber. Adapted and Told by Bryan Renaud. Based on the Story by Algernon Blackwood. @scarystoriespod randomactsnetwork.com youtube.com/randomacts --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/scarystoriesra/support

AJ Daily
12-28-21 Body condition scoring of cows; ranching women create calendar fundraiser; Kansas fire and storm relief; Blackland Income Growth Conference to highlight farm policy, commodity trends

AJ Daily

Play Episode Listen Later Dec 28, 2021 5:09


12-28-21 AJ DailyBody Condition Scoring of CowsAdapted from an article by Mark Johnson, Oklahoma State University Ranching Women Create Calendar Fundraiser; Raise More Than $12,500 Adapted from a release by R-CALF USA Kansas Fire and Storm Relief Adapted from a release by Lia Biondo, United States Cattlemen's Association Blackland Income Growth Conference to Highlight Farm Policy, Commodity Trends Jan. 11 in WacoAdapted from a release by Blair Fannin, Texas A&M AgriLife Compiled by Paige Nelson, field editor, Angus Journal. For more Angus news, visit angusjournal.net. 

The Dairy Edge
Matt Ryan Part 2: How dairy farmers have adapted in an effort to achieve technical excellence

The Dairy Edge

Play Episode Listen Later Dec 27, 2021 22:19


In the second part of his interview, renowned agri-consultant Matt Ryan joins Emma-Louise Coffey on this week's Dairy Edge podcast to discuss practices that dairy farmers have adopted in an effort to achieve technical excellence. Traditionally, dairy farmers had extended housing periods where cows got out to grass in April or May and in 1993, Matt travelled to New Zealand which was an eye opening experience in terms of extended grazing through use of the spring rotation planner. Matt explains that the target at this time was to get out 1-2 weeks earlier and house 1-2 weeks later compared with previous years and in the early 90s, he estimates there was a £1 benefit per cow per day. When milk price moved to an A+B-C system, the focus turned to improving fat and protein constituents. Protein was particularly low owing to Shorthorn and British Friesian genetics and breeding focus for predicted fat and protein %, coupled with improved fertility and grassland management, means that the average Irish farmer has a current protein of 3.5%. For more episodes from the Dairy Edge podcast go to the show page at: https://www.teagasc.ie/animals/dairy/the-dairy-edge-podcast/ The Dairy Edge is a co-production with LastCastMedia.com

The Archers
The Ambridge Mystery Plays: The Nativity

The Archers

Play Episode Listen Later Dec 26, 2021 56:48


1/2 The Nativity Queen of Ambridge amateur theatricals, Lynda Snell, takes charge of this brand new adaptation of the Mediaeval dramas. Join the cast of The Archers in a unique promenade production around Ambridge, telling the Christmas story with warmth, humour and festive cheer. Adapted by Nick Warburton Director …. Kim Greengrass Executive Editor …. Jeremy Howe Technical Producers …. Andy Partington & Vanessa Nuttall Production Coordinators …. Sally Lloyd & Andrew Smith 1st Angel …. Sunny Ormonde 2nd Angel …. Katie Redford God …. Carole Boyd Isaiah …. Timothy Bentinck Mary …. Molly Pipe Joseph …. Nick Barber Herod …. Timothy Bentinck Messenger …. Sunny Ormonde 1st Shepherd …. Ryan Kelly 2nd Shepherd …. Trevor Harrison 3rd Shepherd …. Katie Redford 1st King … Charlotte Martin 2nd King …. Ryan Kelly 3rd King …. Katie Redford 1st Soldier …. Charlotte Martin 2nd Soldier …. Trevor Harrison Simeon …. Carole Boyd Other parts played by members of the company. A BBC Audio Drama Birmingham production.

The Archers
The Ambridge Mystery Plays: The Nativity

The Archers

Play Episode Listen Later Dec 26, 2021 58:29


1/2 The Nativity Queen of Ambridge amateur theatricals, Lynda Snell, takes charge of this brand new adaptation of the Mediaeval dramas. Join the cast of The Archers in a unique promenade production around Ambridge, telling the Christmas story with warmth, humour and festive cheer. Adapted by Nick Warburton Director …. Kim Greengrass Executive Editor …. Jeremy Howe Technical Producers …. Andy Partington & Vanessa Nuttall Production Coordinators …. Sally Lloyd & Andrew Smith 1st Angel …. Sunny Ormonde 2nd Angel …. Katie Redford God …. Carole Boyd Isaiah …. Timothy Bentinck Mary …. Molly Pipe Joseph …. Nick Barber Herod …. Timothy Bentinck Messenger …. Sunny Ormonde 1st Shepherd …. Ryan Kelly 2nd Shepherd …. Trevor Harrison 3rd Shepherd …. Katie Redford 1st King … Charlotte Martin 2nd King …. Ryan Kelly 3rd King …. Katie Redford 1st Soldier …. Charlotte Martin 2nd Soldier …. Trevor Harrison Simeon …. Carole Boyd Other parts played by members of the company. A BBC Audio Drama Birmingham production.

The Archers Omnibus
The Ambridge Mystery Plays: The Nativity

The Archers Omnibus

Play Episode Listen Later Dec 26, 2021 56:48


1/2 The Nativity Queen of Ambridge amateur theatricals, Lynda Snell, takes charge of this brand new adaptation of the Mediaeval dramas. Join the cast of The Archers in a unique promenade production around Ambridge, telling the Christmas story with warmth, humour and festive cheer. Adapted by Nick Warburton Director …. Kim Greengrass Executive Editor …. Jeremy Howe Technical Producers …. Andy Partington & Vanessa Nuttall Production Coordinators …. Sally Lloyd & Andrew Smith 1st Angel …. Sunny Ormonde 2nd Angel …. Katie Redford God …. Carole Boyd Isaiah …. Timothy Bentinck Mary …. Molly Pipe Joseph …. Nick Barber Herod …. Timothy Bentinck Messenger …. Sunny Ormonde 1st Shepherd …. Ryan Kelly 2nd Shepherd …. Trevor Harrison 3rd Shepherd …. Katie Redford 1st King … Charlotte Martin 2nd King …. Ryan Kelly 3rd King …. Katie Redford 1st Soldier …. Charlotte Martin 2nd Soldier …. Trevor Harrison Simeon …. Carole Boyd Other parts played by members of the company. A BBC Audio Drama Birmingham production.

Havok Story Podcast
The Toughest Crowd (Winter Special)

Havok Story Podcast

Play Episode Listen Later Dec 25, 2021 11:10


Jessmina meets new faces every day, and has the unenviable task of cheering up even the most downbeat of weary souls. On one fateful winter night, four people enter the tavern, and one of them looks familiar. She doesn't know it yet, but this night will change her life forever. The most special Winter Special! Based on the original flash fiction by Beka Gremikova. Adapted for audio and produced by Magnus Carlssen. Sound design by Kathryn Stanley. Music by Alexander Nakarada. Starring these legends (in order of appearance): David Izquierdo -- Aud Andrews -- Ginger Sue -- Maximilian Conteras -- Magnus Carlssen -- Dallis MacKenzie -- and Shogo Miyakita. Best with headphones!

Let me bore you to sleep - Jason Newland
#23 Jason's Bed Time Story Time - "THE LITTLE STINKY MERMAID" Adapted by Jason Newland (18th September 2021) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 295:28


Let me bore you to sleep - Jason Newland
#22 Jason's Bed Time Story Time - 'THE SMELLY NICE MOUSE' Adapted by Jason Newland (23rd August 2021) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 592:21


Let me bore you to sleep - Jason Newland
#22 Jason's Bed Time Story Time - 'THE SMELLY NICE MOUSE' Adapted by Jason Newland (23rd August 2021) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 324:50


Let me bore you to sleep - Jason Newland
#21 Jason's Bed Time Story Time - 'THE WOLF AND THE 7 SMELLY CHILDREN' Adapted by Jason Newland (9th August 2021) 10 HOURS TALKING MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 596:46


Let me bore you to sleep - Jason Newland
#21 Jason's Bed Time Story Time - 'THE WOLF AND THE 7 SMELLY CHILDREN' Adapted by Jason Newland (9th August 2021) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 296:12


Let me bore you to sleep - Jason Newland
#20 Jason's Bed Time Story Time - 'SNOW WHITE & SOME LITTLE PEOPLE' Adapted by Jason Newland (30th April 2021) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 593:15


Let me bore you to sleep - Jason Newland
#19 Jason's Bed Time Story Time - 'SMELLY OLD TOOTHLESS SULTAN' Adapted by Jason Newland (ARCHIVE) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 594:43


Let me bore you to sleep - Jason Newland
#19 Jason's Bed Time Story Time - 'SMELLY OLD TOOTHLESS SULTAN' Adapted by Jason Newland (ARCHIVE) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 295:52


Let me bore you to sleep - Jason Newland
#18 Jason's Bed Time Story Time - 'THE MEESERS STOORWORM' Adapted by Jason Newland (ARCHIVE) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 590:54


Let me bore you to sleep - Jason Newland
#18 Jason's Bed Time Story Time - 'THE MEESERS STOORWORM' Adapted by Jason Newland (ARCHIVE) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 295:58


Let me bore you to sleep - Jason Newland
#16 Jason's Bed Time Story Time - 'MOLLY WHUPPIE' Adapted by Jason Newland (ARCHIVE) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 591:58


Let me bore you to sleep - Jason Newland
#16 Jason's Bed Time Story Time - 'MOLLY WHUPPIE' Adapted by Jason Newland (ARCHIVE) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 296:12


Let me bore you to sleep - Jason Newland
#15 Jason's Bed Time Story Time - 'JACK AND HIS GOLDEN SNUFF BOX' Adapted by Jason Newland (ARCHIVE) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 591:25


Let me bore you to sleep - Jason Newland
#15 Jason's Bed Time Story Time - 'JACK AND HIS GOLDEN SNUFF BOX' Adapted by Jason Newland (ARCHIVE) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 293:08


Let me bore you to sleep - Jason Newland
#14 Jason's Bed Time Story Time - "JACK AND THE BEANSTALK" Adapted by Jason Newland (ARCHIVE) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 595:18


Let me bore you to sleep - Jason Newland
#13 Jason's Bed Time Story Time - "THE GOLDEN GOOSE" Adapted by Jason Newland (ARCHIVE) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 594:30


Let me bore you to sleep - Jason Newland
#13 Jason's Bed Time Story Time - "THE GOLDEN GOOSE" Adapted by Jason Newland (ARCHIVE) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 296:51


Let me bore you to sleep - Jason Newland
#12 Jason's Bed Time Story Time - 'THE PERSONS OF THE TALE' Adapted by Jason Newland (ARCHIVE) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 295:14


Let me bore you to sleep - Jason Newland
#11 Jason's Bed Time Story Time - "WELSH RABBIT AND HUNTED HARES" Adapted by Jason Newland (ARCHIVE) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 596:21


Let me bore you to sleep - Jason Newland
#11 Jason's Bed Time Story Time - "WELSH RABBIT AND HUNTED HARES" Adapted by Jason Newland (ARCHIVE) 5 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 298:02


Let me bore you to sleep - Jason Newland
#10 Jason's Bed Time Story Time - "THE ENCHANTED EXOTIC MERMAID" Adapted by Jason Newland (ARCHIVES) 10 HOURS TALKING WITH MUSIC

Let me bore you to sleep - Jason Newland

Play Episode Listen Later Dec 24, 2021 590:09


Happy Ending Pod Show
A Christmas Carol

Happy Ending Pod Show

Play Episode Listen Later Dec 24, 2021 56:36


For the holiday season B3 and I bring you a classic ghost story within a Christmas story. From December 24, 1939 "A Christmas Carol" a radio broadcast by the Campbell Playhouse. Adapted from the novella by Charles Dickens Cast: Orson Welles (Narrator) Lionel Barrymore (Ebenezer Scrooge) Everett Sloane (Marley's Ghost) Frank Readick (Bob Cratchit) Erskine Sanford (Fezziwig) George Coulouris (Ghost of Christmas Present) Ray Collins, Georgia Backus (Mrs. Cratchit) Bea Benaderet (Martha Cratchit) Edgar Barrier (Announcer)

Organize Your Closet And Your Life Will Follow
Episode 9 - Tid Bits Series Part 4

Organize Your Closet And Your Life Will Follow

Play Episode Listen Later Dec 24, 2021 16:15


Please leave a 5-star review and email me at ruma@mylifeinflow.com if you would like to be entered into the "Giveaway Drawing" which will happen monthly as I choose a random 5-star reviewer.  Type the words "Organize Your Closet" in the subject line! If you win, I will reach out to you for your best mailing address and send you a copy of "The Home Edit" by Clea Shearer and Joanna Teplin!!!Moving towards a minimal life can actually be daunting for many people. I can definitely attest to the fact that it is challenging. Try incorporating "Tid Bits", much like Tiny Habits so that you can move towards minimalism at your own pace, but make sure you also challenge yourself when needed! Here are Five Tid Bits that you can practice right away:One Need a Day - Let's get back to single-tasking and really focus on that one thing that really needs to happen today. Do away with the multi-tasking, multi-level, cross-pollinated to-do lists that just make us feel like failures. You only need to do ONE thing today, or maybe even NO-thing! Do what makes you feel good. Do what speaks to your body and spirit. Ask yourself, "What is the one thing I want to get done today that would really make me feel good about myself?" Maybe it's practicing yoga for 10 more minutes than you already do, maybe it's cooking a meal from scratch, maybe it's taking a walk around your block and saying hello to another human being, maybe it's stretching outside your comfort zone and having a deeper meaningful conversation with your neighbor, maybe it's just sitting in the sun feeling the warmth on your skin while cuddling with your fur-baby or loved ones. There are so many things you can do to feed your soul. Whatever those things are for you, please do them regularly!Rituals - As humans, we actually do crave some form of routine as part of our natural circadian rhythm. Routines can keep us healthy and keep our minds engaged when we form self-care rituals that put us and our needs at the forefront. Rituals can be those moments in life at the beginning and end of our day that gives us the time and grace to get into our body/heart-mind/spirit connection which can really feed our souls and make us feel the feelings of accomplishment and success that has nothing to do with your to-do list or your job.Shoulds, Coulds, Woulds! - Are you living your life for yourself or someone else? When you don't live your life for yourself and your truth, your mind/body/spirit actually becomes disconnected and you go into depression because that vital internal alignment is not there. In the words of Martha Beck, "Integrity is the cure for unhappiness. Period."Live Now - Letting go of the past is crucial to living your best life right now. Enough said - you know this in your heart of hearts, no need to elaborate. If you need more tips on how to live now, have a listen to my Episode 4 - What is Hygge, Slow Living and Unloading Baggage? Simple Pleasures under $5 - I really love all the cute suggestions, but I have found that just saving $5 a week has shifted my money mindset into that of saving and not spending and getting caught up in all the consumerism. As soon as I saw how much I could amass with such a small amount, I kept adding to it and went from 5 to 10 to 15 to $20 a week. Try using Stash, Acorns or Fidelity and watch your small potatoes grow into a life-changing full-on spud farm!!!Adapted from "52 Ways to Simplify Your Life", by Lynn Gordon

19 Nocturne Boulevard
19 Nocturne Boulevard - A TRILOGY FOR XMAS - Reissue

19 Nocturne Boulevard

Play Episode Listen Later Dec 23, 2021 46:22


Nothing is ever normal at 19 Nocturne Boulevard.  So when Olivia, our sultry announcer, decides to read the listeners a few of her favorite Xmas tales, things get a bit out of hand. Adapted by Julie Hoverson from stories by Arnold Bennett, Rudyard Kipling, and Joseph Conrad, appearing in A Christmas Garland edited by Max Beerbohm, published in 1912 Cast List Olivia - Julie Hoverson Emily Wrackgarth - Beverly Poole Jos Wrackgarth - Russell Gold Albert Grapp - Gareth Bowley Kipling/narrator - Rick Lewis Judlip - Cole Hornaday Mr. Williams - Michael Coleman [from Tales of the Extradordinary] Mahamo - Pat McNally Music:  Kevin MacLeod (Incompetech.com) Editing and Sound:   Julie Hoverson Cover Photo:  Sanja Gjenero (courtesy of Stock Xchange.com)   "Puh-leeze!  Do I sound like the type to offend with yet another rendition of A Christmas Carol?"   **************************************************** A TRILOGY FOR CHRISTMAS Cast: Olivia SCRUTS Emily Wrackgarth Jos Wrackgarth Albert Grapp   PC X36 Kipling Judlip Father Christmas   THE FEAST Williams Mahamo ANNOUNCER    The stories for tonight's show have been abridged and dramatized by Julie Hoverson     OLIVIA     Did you have any trouble finding it?  Well sit right down.  I want to read you my favorite Christmas stories.  No, don't go!  [disgusted] Oh, puh-lease!  Do I seem the type to offend with yet another rendition of A Christmas Carol, or The night Before Christmas?  Even the Velveteen Rabbit, which is a truly disturbing tale to any small child, is far too common for this house.  MUSIC CREEPS IN OLIVIA    Indulge me, won't you?  I promise I won't disappoint.  I have selected three of my most favorite Christmas tales to share with you, and even if one is a bit romantic and sentimental, well, you have to let me be girly sometimes, right?  So - I'll get sentiment out of the way and move right into the more... meaty stories.  The first story, then, is Scruts by Arnold Bennett MUSIC CHANGES OLIVIA     Emily Wrackgarth stirred the Christmas pudding till her right arm began to ache. But she did not cease for that. SOUND    KITCHEN, STIRRING OLIVIA    She stirred on till her right arm grew so numb that it might have been the right arm of some girl at the other end of Bursley. And yet something deep down in her whispered EMILY    [muttered] It is your right arm! And you can do what you like with it! OLIVIA    She did what she liked with it. Relentlessly she kept it moving till it reasserted itself as the arm of Emily Wrackgarth, prickling and tingling as with red-hot needles in every tendon from wrist to elbow. And still Emily Wrackgarth hardened her heart. EMILY    Mine.  You are mine. OLIVIA    Presently she saw the spoon no longer revolving, but wavering aimlessly in the midst of the basin. EMILY    Ridiculous! This must be seen to! OLIVIA    In the down of dark hairs that connected her eyebrows there was a marked deepening of that vertical cleft which, visible at all times, warned you that here was a young woman not to be trifled with. Her brain despatched to her hand a peremptory message—which miscarried. The spoon wabbled as though held by a baby. EMILY    [exasperated noise] OLIVIA    Emily knew that she herself as a baby had been carried into this very kitchen to stir the Christmas pudding. Year after year, as she grew up, she had been allowed to stir it "for luck." And those, she reflected, were the only cookery lessons she ever got. EMILY    How like Mother! OLIVIA    Mrs. Wrackgarth had died in the past year, of a complication of ailments.  Emily still wore on her left shoulder that small tag of crape which is as far as the Five Towns go in the way of mourning. Her father had died in the year previous to that, of a still more curious and enthralling complication of ailments.  Jos, his son, carried on the Wrackgarth Works, EMILY    [interrupting] and I kept house for Jos. I with my own hand made this pudding. But for me, this pudding would not have been. Fantastic! Utterly incredible! OLIVIA    [slightly miffed] And yet so it was. She was grown-up. She was mistress of the house. She could make or unmake puddings at will. And yet she was Emily Wrackgarth. Which was absurd. EMILY    It is doubtful whether the people of southern England have even yet realised how much introspection there is going on all the time in the Five Towns. OLIVIA    [ahem!]  Emily was now stirring the pudding with her left hand. The ingredients had already been mingled indistinguishably in that rich, undulating mass of tawniness which proclaims perfection. But Emily was determined to give her left hand, not less than her right, what she called EMILY    "a doing." OLIVIA    Emily was like that.  At mid-day, when her brother came home from the Works, she was still at it. EMILY    Brought those scruts with you? JOS    That's a fact. OLIVIA    And he dipped his hand into the sagging pocket of his coat.  It is perhaps necessary to explain what scruts are. In the daily output of every potbank there are a certain proportion of flawed vessels. These are cast aside by the foreman, EMILY    with a lordly gesture, OLIVIA    and in due course are hammered into fragments. These fragments, which are put to various uses, are called scruts; and one of the uses they are put to is a sentimental one. EMILY    The dainty and luxurious Southerner looks to find in his Christmas pudding a wedding-ring, a gold thimble, a threepenny-bit, or the like. To such fal-lals the Five Towns would say fie. OLIVIA     A Christmas pudding in the Five Towns contains nothing but suet, flour, lemon-peel, cinnamon, brandy, almonds, raisins—and two or three scruts. There is a world of poetry, beauty, romance, in scruts—though you have to have been brought up on them to appreciate it. Scruts have passed into the proverbial philosophy of the district. EMILY    "Him's a pudden with more scruts than raisins to 'm" OLIVIA    is a criticism not infrequently heard. It implies respect, even admiration. Of Emily Wrackgarth herself people often said, in reference to her likeness to her father, JOS    "Her's a scrut o' th' owd basin."  [realizing he cut in] Oh, Hmm.  Pardon. OLIVIA    Jos had emptied out from his pocket on to the table a good three dozen of scruts. EMILY     I laid aside my spoon, rubbed the palms of my hands on the bib of my apron, and proceeded to finger these scruts with the air of a connoisseur, rejecting one after another. OLIVIA    The pudding was a small one, designed merely for herself and Jos, with remainder to "the girl"; so that it could hardly accommodate more than two or three scruts. EMILY     I knew well that one scrut is as good as another. Yet I did not want my brother to feel that anything selected by him would necessarily pass muster. OLIVIA     For his benefit she ostentatiously wrinkled her nose. JOS    By the by, you remember Albert Grapp? I've asked him to step over from Hanbridge and help eat our snack on Christmas Day. EMILY    [incensed] You've asked that Mr. Grapp? JOS    No objection, I hope? He's not a bad sort. And he's considered a bit of a ladies' man, you know. EMILY    [incensed noise] SOUND    CLATTER OF SCRUTS INTO BOWL OLIVIA    Emily gathered up all the scruts and let them fall in a rattling shower on the exiguous pudding. Two or three fell wide of the basin. EMILY    [vengefully]  I made sure they all fit, too. JOS    [alarmed] Steady on!  What's that for? EMILY    That's for your guest.  And if you think you're going to palm me off on to him, or on to any other young fellow, you're a fool, Jos Wrackgarth! JOS    I - I would never-- EMILY    Don't think I don't know what you've been after, just of late. Cracking up one young sawny and then another on the chance of me marrying him! I never heard of such goings on. But here I am, and here I'll stay, as sure as my name's Emily Wrackgarth, Jos Wrackgarth! OLIVIA    It is difficult to write calmly about Emily at this point. For her, in another age, ships would have been launched and cities besieged. But brothers are a race apart, and blind. It is a fact that Jos would have been glad to see his sister "settled" JOS    [muttered] —preferably in one of the other four Towns. OLIVIA    [chuckle] She took up the spoon and stirred vigorously. The scruts grated and squeaked together around the basin, while the pudding feebly wormed its way up among them. MUSIC CHANGES ALBERT    [whispered] Is it me?  Oh!  [up]  Albert Grapp, ladies' man though he was, was humble of heart. Nobody knew this but himself. OLIVIA    Not one of his fellow clerks in Clither's Bank knew it. The general theory in Hanbridge was "Him's got a stiff opinion o' hisself." ALBERT    But this arose from what was really a sign of humility in him. He made the most of himself. OLIVIA    He had, for instance, a way of his own in the matter of dressing. He always wore a voluminous frock-coat, with a pair of neatly-striped vicuna trousers-- ALBERT    --which he placed every night under his mattress, thus preserving in perfection the crease down the centre of each. OLIVIA     He had two caps, one of blue serge, the other of shepherd's plaid. These he wore on alternate days. He wore them in a way of his own—well back from his forehead, so as not to hide his hair.  OLIVIA    On wet days he wore a mackintosh. This, as he did not yet possess a great-coat, he wore also, but with less glory, on cold days. ALBERT    He had hoped there might be rain on Christmas morning. But there was no rain. [sigh, resigned] Like my luck. OLIVIA    [whispered, urgent] Stop referring to yourself in the third person, no one else does.  [back up] Since Jos Wrackgarth had introduced Albert to his sister at the Hanbridge Oddfellows' Biennial Hop, ALBERT    when he -I- danced two quadrilles with her, OLIVIA    --he had seen her but once. He had nodded to her, Five Towns fashion, and she had nodded back at him, but with a look that seemed to say-- EMILY    You needn't nod next time you see me. I can get along well enough without your nods. ALBERT    A frightening girl! And yet her brother had since told ...me... she seemed "a bit gone, like" on me!  Impossible! He, Albert Grapp, make an impression on the brilliant Miss Wrackgarth! Yet she had sent him a verbal invite to spend Christmas in her own home. OLIVIA    You're doing it again. ALBERT    [oblivious, enchanted] And the time had come. He was on his way. Incredible that he should arrive! The tram must surely overturn, or be struck by lightning. And yet no! He arrived safely. OLIVIA    [sigh] The small servant who opened the door gave him another verbal message from Miss Wrackgarth. [disapproving] Wipe your feet well on the mat.  [narrating again] In obeying this order he experienced a thrill of satisfaction he could not account for. He must have stood shuffling his boots vigorously for a full minute. ALBERT    This, he told himself, was life. He, Albert Grapp, was alive. And the world was full of other men, all alive; and yet, because they were not doing Miss Wrackgarth's bidding, none of them really lived. OLIVIA    In the parlour he found Jos awaiting him. The table was laid for three. JOS    So you're here, are you? OLIVIA    Said the host, using the Five Towns formula. JOS    Emily's in the kitchen.  Happen she'll be here directly. ALBERT    I hope she's tol-lol-ish? JOS    She is.  But don't you go saying that to her. She doesn't care about society airs and graces. You'll make no headway if you aren't blunt. ALBERT    Oh, right you are. OLIVIA    A moment later Emily joined them, still wearing her kitchen apron. EMILY    So you're here, are you? OLIVIA    She said, but did not shake hands. The servant had followed her in with the tray, and the next few seconds were occupied in the disposal of the beef and trimmings.  The meal began, Emily carving. JOS    [sigh] The main thought of a man less infatuated than Albert Grapp would have been "This girl can't cook. And she'll never learn to." The beef, instead of being red and brown, was pink and white. Uneatable beef! ALBERT    [rapturizing] And yet he relished it more than anything he had ever tasted. This beef was her own handiwork. Thus it was because she had made it so....  [up]  Happen I could do with a bit more, like. OLIVIA    Emily hacked off the bit more and jerked it on to the plate he had held out to her. ALBERT    Thanks! OLIVIA    Only when the second course came on did he suspect that the meal was a calculated protest. This a Christmas pudding? The litter of fractured earthenware was hardly held together by the suet and raisins. ALBERT    All his pride of manhood—and there was plenty of pride mixed up with Albert Grapp's humility—dictated a refusal to touch that pudding. Yet he soon found himself touching it, though gingerly, with spoon and fork. OLIVIA    In the matter of dealing with scruts there are two schools—the old and the new. The old school pushes its head well over its plate and drops the scrut straight from its mouth. The new school emits the scrut into the fingers of its left hand and therewith deposits it on the rim of the plate. ALBERT    Albert noticed that Emily was of the new school. OLIVIA    Oh, I give up. ALBERT    But might she not despise as affectation in him what came natural to herself? On the other hand, if he showed himself as a prop of the old school, might she not set her face the more stringently against him? OLIVIA    The chances were that whichever course he took would be the wrong one. ALBERT    It was then that he had an inspiration—an idea of the sort that comes to a man once in his life and finds him, likely as not, unable to put it into practice. OLIVIA    Albert was not sure he could consummate this idea of his. He had indisputably fine teeth— JOS    "a proper mouthful of grinders" OLIVIA    in local phrase. But would they stand the strain he was going to impose on them? He could but try them. OLIVIA    [con't] Without a sign of nervousness he raised his spoon, with one scrut in it, to his mouth. This scrut he put between two of his left-side molars, bit hard on it, and—eternity of that moment!—felt it and heard it snap in two. SOUND    GRINDING, CRUNCHING ALBERT    He was conscious that at sound of the percussion Emily started forward and stared at him. But he did not look at her. EMILY    [amazed] That was none so dusty. [similar to "not too shabby"] OLIVIA    Calmly, systematically, with gradually diminishing crackles, he reduced that scrut to powder, and washed the powder down with a sip of beer. SOUND    DRINK OLIVIA    While he dealt with the second scrut, he talked to Jos about the Borough Council's proposal to erect an electric power-station on the site of the old gas-works down Hillport way. ALBERT    He was aware of a slight abrasion inside his left cheek. No matter. He must be more careful. OLIVIA    There were six scruts still to be negotiated. ALBERT    He knew that what he was doing was a thing grandiose, unique, epical; a history-making thing; a thing that would outlive marble and the gilded monuments of princes. Yet he kept his head. OLIVIA    He did not hurry, nor did he dawdle. Scrut by scrut, he ground slowly but he ground exceeding small. ALBERT    And while he did so he talked wisely and well. OLIVIA    He passed from the power-station to a first edition he had picked up for sixpence in Liverpool, and thence to the Midland's proposal to drive a tunnel under the Knype Canal so as to link up the main-line with the Critchworth and Suddleford loop-line. JOS    I was too amazed to put in a word, but sat merely gaping—a gape that merged by imperceptible degrees into a grin. Presently I ceased to watch our guest. I sat watching my sister. OLIVIA    Not once did Albert himself glance in her direction. She was just a dim silhouette on the outskirts of his vision. ALBERT    But there she was, unmoving, and he could feel the fixture of her unseen eyes. The time was at hand when he would have to meet those eyes. Would he flinch? Was he master of himself? GRINDING STOPS OLIVIA    The last scrut was powder. No temporising! He jerked his glass to his mouth. ALBERT    A moment later, holding out his plate to her, he looked Emily full in the eyes. They were Emily's eyes, but not hers alone. They were collective eyes—that was it! They were the eyes of stark, staring womanhood. OLIVIA    Her face had been dead white, but now suddenly up from her throat, over her cheeks, through the down between her eyebrows, went a rush of colour, up over her temples, through the very parting of her hair. ALBERT    [casual] Happen, I'll have a bit more, like. OLIVIA    Emily flung her arms forward on the table and buried her face in them. EMILY    [breaking into sobs] OLIVIA    It was a gesture wild and meek. It was the gesture foreseen and yet incredible. It was recondite, inexplicable, and yet obvious. EMILY    [aside, not teary] It was the only thing to be done—and yet, by gum, I had done it. [back to sobbing] OLIVIA    Her brother had risen from his seat and was now at the door. JOS    [pleased with himself] Think I'll step round to the Works, and see if they banked up that furnace aright. OLIVIA    NOTE.—The author has in preparation a series of volumes dealing with the life of Albert and Emily Grapp. MUSIC BACK TO NEUTRAL OLIVIA    Sweet romance, eh?  Well, I've indulged my sentimental side, now how about some gritty policework?  EMILY    Hold up.  You really think I'll get hitched over some fellow who sups pottery? OLIVIA    That's how the story ends.  And he's a good looking chap. EMILY    And your accent is wretched. OLIVIA    Go back to your story. EMILY    Won't. OLIVIA    Your story is over.  Shut up.  EMILY    Can't make me - you're no better'n me - have ten toes and ten fingers just the same. OLIVIA    I'll close the book, and then you'll be gone until someone else reads you - and you're far enough out of print, THAT won't happen any time soon. EMILY    [annoyed, seething]  Right.  I'll sit here, then shall I? OLIVIA    Don't care.  Just keep quiet.  [deep breath] My next tale is PC X-36, by Rudyard Kipling. JUDLIP    Then it's collar 'im tight, In the name o' the Lawd! 'Ustle 'im, shake 'im till 'e's sick! Wot, 'e would, would 'e? Well, Then yer've got ter give 'im 'Ell, An' it's trunch, trunch, truncheon does the trick OLIVIA    From police station ditties. EMILY    Sounds like a donkey. OLIVIA    Shh! KIPLING    I had spent Christmas Eve at the Club, listening to a grand pow-wow between certain of the choicer sons of Adam. OLIVIA    Hold on!  I'm the one reading this story! KIPLING    But I'm the narrator. EMILY    Hear Hear. OLIVIA    I'm the reader.  You need to keep quiet. KIPLING    You might have thought first before taking on a first person narrative, mightn't you? OLIVIA    Well, I'll endeavor to sound like you.  Now!  Wait for your cue.  [clears throat] Then Slushby had cut in. Slushby is one who writes to newspapers and is theirs obediently "HUMANITARIAN." When Slushby cuts in, men remember they have to be up early next morning.  KIPLING    Sharp round a corner on the way home, I collided with something firmer than the regulation pillar-box. OLIVIA    [gritted teeth] I righted myself after the recoil and saw some stars that were very pretty indeed. Then I perceived the nature of the obstruction. KIPLING    "Evening, Judlip," [quickly spitting out his descriptives] I said sweetly, when I had collected my hat from the gutter. "Have I broken the law, Judlip? If so, I'll go quiet." JUDLIP    [Gruff] Time yer was in bed.  Yer Ma'll be lookin' out for yer. KIPLING    This from the friend -- OLIVIA    Ahem!  --of my bosom! It hurt. Many were the night-beats I had been privileged to walk with Judlip, imbibing curious lore that made glad the civilian heart of me. Seven whole 8x5 inch note-books had I pitmanised to the brim with Judlip. EMILY    And now to be repulsed as one of the uninitiated! It hurt horrid.  OLIVIA    Don't you start in again! EMILY    Hah! OLIVIA    Don't!  [back to the story] There is a thing called Dignity. Small boys sometimes stand on it. Then they have to be kicked. Then they get down, weeping. I don't stand on Dignity. KIPLING     "What's wrong, Judlip?" I asked, more sweetly than ever. "Drawn a blank to-night?" JUDLIP     Yuss. Drawn a blank blank blank. 'Avent 'ad so much as a kick at a lorst dorg. Christmas Eve ain't wot it was. KIPLING    I felt for my note-book. JUDLIP    Lawd! I remembers the time when the drunks and disorderlies down this street was as thick as flies on a fly-paper. One just picked 'em orf with one's finger and thumb. A bloomin' buffet, that's wot it wos. KIPLING    "The night's yet young, Judlip," [quickly] I insinuated, with a jerk of my thumb at the flaring windows of the "Rat and Blood Hound." At that moment-- OLIVIA    [Catching up] --the saloon-door swung open, emitting a man and woman who walked with linked arms and exceeding great care. EMILY    [sarcastic]  How sweet. OLIVIA    Judlip eyed them longingly as they tacked up the street. Then he sighed. Now, when Judlip sighs the sound is like unto that which issues from the vent of a Crosby boiler when the cog-gauges are at 260 degrees. KIPLING    "Come, Judlip!" I said. "Possess your soul in patience. You'll soon find someone to make an example of. Meanwhile"—I threw back my head and smacked my lips [he does] —"the usual, Judlip?" OLIVIA    In another minute I emerged through the swing-door, bearing a furtive glass of that same "usual," and nipped down the mews where my friend was wont to await these little tokens of esteem. KIPLING    "To the Majesty of the Law, Judlip!" OLIVIA    When he had honoured the toast, I scooted back with the glass, leaving him wiping the beads off his beard-bristles. He was in his philosophic mood when I rejoined him at the corner. JUDLIP    "Wot am I?  [pronouncing] A bloomin' cypher. Wot's the sarjint? 'E's got the Inspector over 'im. Over above the Inspector there's the Sooprintendent. Over above 'im's the old red-tape-masticatin' Yard. Over above that there's the 'Ome Sec. Wot's 'e? A cypher, like me. Why? KIPLING    Judlip looked up at the stars. JUDLIP    Over above 'im's We Dunno Wot. Somethin' wot issues its horders an' regulations an' divisional injunctions, inscrootable like, but p'remptory; an' we 'as ter see as 'ow they're carried out, not arskin' no questions, but each man goin' about 'is dooty.' KIPLING    "''Is dooty,'" said I, looking up from my note-book. "Yes, I've got that." JUDLIP    Life ain't a bean-feast. It's a 'arsh reality. An' them as makes it a bean-feast 'as got to be 'arshly dealt with accordin'. That's wot the Force is put 'ere for from Above. Not as 'ow we ain't fallible. We makes our mistakes. An' when we makes 'em we sticks to 'em. For the honour o' the Force. Which same is the jool Britannia wears on 'er bosom as a charm against hanarchy. That's wot the brarsted old Beaks don't understand. Yer remember Smithers of our Div? KIPLING    [takes breath, but is interupted] OLIVIA    I remembered Smithers - well. As fine, upstanding, square-toed-- [hand over mouth] EMILY    [Picking up quickly, but struggling slightly] bullet-headed, clean-living - go on! - son of a gun-- KIPLING    Ta! --as ever perjured himself in the box. There was nothing of the softy about Smithers. I took off my billicock to Smithers' memory. JUDLIP    Sacrificed to public opinion? Yuss, KIPLING    Judlip paused at a front door, flashing his light down the slot of a two-grade Yale. JUDLIP    Sacrificed to a parcel of screamin' old women wot ort ter 'ave gorn down on their knees an' thanked Gawd for such a protector. 'E'll be out in another 'alf year. JUDLIP     Wot'll 'e do then, pore devil? Go a bust on 'is conduc' money an' throw in 'is lot with them same hexperts wot 'ad a 'oly terror of 'im. EMILY    Then Judlip swore gently. KIPLING     What should you do, O Great One, if ever it were your duty to apprehend him? JUDLIP    Do? Why, yer blessed innocent, yer don't think I'd shirk a fair clean cop? Same time, I don't say as 'ow I wouldn't 'andle 'im tender like, for sake o' wot 'e wos. Likewise cos 'e'd be a stiff customer to tackle. Likewise 'cos— OLIVIA    [muffled struggle] KIPLING    He had broken off, and was peering fixedly upwards across the moonlit street. JUDLIP    [drawn-out, hoarse whisper] Ullo! SOUND    STRUGGLE OLIVIA    [muffled, then deep breath]  Back off! EMILY    Hmph.  [shrug] I made a good go. OLIVIA    Striking an average between the direction of his eyes—for Judlip, when on the job, has a soul-stirring squint—I perceived someone in the act of emerging from a chimney-pot.  Judlip's voice clove the silence. JUDLIP    Wot are yer doin' hup there? OLIVIA    The person addressed came to the edge of the parapet. KIPLING    I saw then that he had a hoary white beard, a red ulster with the hood up, and what looked like a sack over his shoulder. OLIVIA    He said something or other in a voice like a concertina that has been left out in the rain. EMILY    [muttered] Not so very hard to pass it round, is it? JUDLIP    I dessay.  Just you come down, an' we'll see about that. OLIVIA    The old man nodded and smiled. Then—as I hope to be saved—he came floating gently down through the moonlight, with the sack over his shoulder and a young fir-tree clasped to his chest. He alighted in a friendly manner on the curb beside us. EMILY    Come along - let us have a go! KIPLING    Judlip was the first to recover himself. Out went his right arm-- EMILY    --and the airman was slung round by the scruff of the neck, spilling his sack in the road. KIPLING    I made a bee-line for his shoulder-blades. Burglar or no burglar, he was the best airman out, and I was muchly desirous to know the precise nature of the apparatus under his ulster. OLIVIA    Fine.  Let's just keep it moving - A back-hander from Judlip's left caused me to hop quickly aside. The prisoner was squealing and whimpering. He didn't like the feel of Judlip's knuckles at his cervical vertebræ. JUDLIP    Wot wos yer doin' hup there? EMILY    asked Judlip, tightening the grip. SANTA CLAUS     I'm S-Santa Claus, Sir. P-please, Sir, let me g-go.. KIPLING    "Hold him," I shouted. "He's a German." JUDLIP    It's my dooty ter caution yer that wotever yer say now may be used in hevidence against yer, yer old sinner. Pick up that there sack, an' come along o' me. EMILY    The captive snivelled something about peace on earth, good will toward men. JUDLIP    Yuss.  That's in the Noo Testament, ain't it? The Noo Testament contains some uncommon nice readin' for old gents an' young ladies. But it ain't included in the librery o' the Force. We confine ourselves to the Old Testament — O-T, 'ot. An' 'ot you'll get it. Hup with that sack, an' quick march! OLIVIA    I have seen worse attempts at a neck-wrench, but it was just not slippery enough for Judlip. EMILY    And the kick that Judlip then let fly was a thing of beauty and a joy for ever. KIPLING    "Frog's-march him!" I shrieked, dancing. "For the love of heaven, frog's-march him!" OLIVIA    Trotting by Judlip's side to the Station, I reckoned it out that if Slushby had not been at the Club I should not have been here to see. ALL    Which shows that even Slushbys are put into this world for a purpose. MUSIC CHANGES OLIVIA    Oh, this is just getting silly. EMILY    Only just?  I should have said it's been a laugh for several miles. KIPLING    D'you have some problem with a bit of a laugh? OLIVIA    The third story I want to read is very serious.  If this goes on, I won't be able to do it justice. EMILY    What is it then? OLIVIA    The Feast.  By Joseph Conrad. KIPLING    Conrad?  He wrote a Christmas story? EMILY    Who is this Conrad fellow? KIPLING    Wrote something called heart of Darkness. OLIVIA    Yes, yes, yes!  Look, it's ruined now.  I'm just going to give up and read The Night before Christmas. EMILY    [disgusted noise] KIPLING    That sentimental pap? OLIVIA    [huffy] The mood is gone. EMILY AND KIPLING    [whisper in the background] EMILY    We might-- KIPLING    Let me! EMILY    I don't think so!  [annoyed grunt] Look you! - um - I think we've not been introduced? OLIVIA    [sulky] Olivia. EMILY    Right.  Olivia.  Why not let us help read the story.  We can do that well enough, can't we? KIPLING    Certainly. OLIVIA    And keep the comments to a minimum? KIPLING    Well... EMILY    I'll box his ears for you if he steps across the line. OLIVIA    It's worth a try. MUSIC TURNS TROPICAL OLIVIA    The hut in which slept the white man was on a clearing between the forest and the river. EMILY    Silence, the silence murmurous and unquiet of a tropical night, brooded over the hut that, baked through by the sun, sweated a vapour beneath the cynical light of the stars. KIPLING    Mahamo lay rigid and watchful at the hut's mouth. In his upturned eyes, and along the polished surface of his lean body black and immobile, the stars were reflected, creating an illusion of themselves who are illusions. OLIVIA    The roofs of the congested trees, writhing in some kind of agony private and eternal, made tenebrous and shifty silhouettes against the sky, like shapes cut out of black paper by a maniac who pushes them with his thumb this way and that, irritably, on a concave surface of blue steel. EMILY    Resin oozed unseen from the upper branches to the trunks swathed in creepers that clutched and interlocked with tendrils venomous, frantic and faint. KIPLING     Down below, by force of habit, the lush herbage went through the farce of growth—that farce old and screaming, whose trite end is decomposition.  [aside] Optimist, eh?  Ouch! OLIVIA    Ssh.  Within the hut the form of the white man, corpulent and pale, was covered with a mosquito-net that was itself illusory like everything else, only more so. Flying squadrons of mosquitoes inside its meshes flickered and darted over him, working hard, but keeping silence so as not to excite him from sleep. EMILY    [with distaste] Cohorts of yellow ants disputed him against cohorts of purple ants, the two kinds slaying one another in thousands. KIPLING    [avid] The battle was undecided when suddenly, with no such warning as it gives in some parts of the world, the sun blazed up over the horizon, turning night into day, and the insects vanished back into their camps. OLIVIA    The white man ground his knuckles into the corners of his eyes, emitting that snore final and querulous of a middle-aged man awakened rudely. With a gesture brusque but flaccid he plucked aside the net and peered around. EMILY    The bales of cotton cloth, the beads, the brass wire, the bottles of rum, had not been spirited away in the night. So far so good. KIPLING    The faithful servant of his employers was now at liberty to care for his own interests. He regarded himself, passing his hands over his skin. WILLIAMS    [shouted] Hi! Mahamo! I've been eaten up. OLIVIA    The islander, with one sinuous motion, sprang from the ground, through the mouth of the hut. Then, after a glance, he threw high his hands in thanks to such good and evil spirits as had charge of his concerns. In a tone half of reproach, half of apology, he murmured— MAHAMO    You white men sometimes say strange things that deceive the heart. WILLIAMS    Reach me that ammonia bottle, d'you hear?  This is a pretty place you've brought me to!  Christmas Day, too! Of all the —— But I suppose it seems all right to you, you heathen, to be here on Christmas Day? MAHAMO    We are here on the day appointed, Mr. Williams. It is a feast-day of your people? OLIVIA    Mr. Williams had lain back, with closed eyes, on his mat. Nostalgia was doing duty to him for imagination. EMILY    He was wafted to a bedroom in Marylebone, where in honour of the Day he lay late dozing, with great contentment; outside, a slush of snow in the street, the sound of church-bells; from below a savour of especial cookery. [chuckles a bit] WILLIAMS    Yes, it's a feast-day of my people. MAHAMO    Of mine also. WILLIAMS    [disinterested] Is it though? But they'll do business first? MAHAMO    They must first do that. WILLIAMS    And they'll bring their ivory with them? MAHAMO    Every man will bring ivory. OLIVIA    The islander answered with a smile gleaming and wide. WILLIAMS    How soon'll they be here? MAHAMO    Has not the sun risen? They are on their way. WILLIAMS    Well, I hope they'll hurry. The sooner we're off this cursed island of yours the better. Take all those things out-- OLIVIA    Mr. Williams added, pointing to the merchandise. WILLIAMS    --and arrange them.  Neatly, mind you! KIPLING    In certain circumstances it is right that a man be humoured in trifles. Mahamo, having borne out the merchandise, arranged it very neatly. OLIVIA    While Mr. Williams made his toilette, the sun and the forest, careless of the doings of white and black men alike, waged their warfare implacable and daily. The forest from its inmost depths sent forth perpetually its legions of shadows that fell dead in the instant of exposure to the enemy whose rays heroic and absurd its outposts annihilated. EMILY    What's all this to do with Christmas? KIPLING    Want me to cuff her one? OLIVIA    It takes place on Christmas day - they already said that. EMILY    But this is all jungle creepers and spooky shadows - and vermins.  If there's one thing that doesn't come to my mind when I think of Christmas, it's ants and mosquitoes and such.  KIPLING    You should see some of the places I've been. OLIVIA    Why don't we just finish the story? KIPLING    There came from those inilluminable depths the equable rumour of myriads of winged things and crawling things newly roused to the task of killing and being killed. Thence detached itself, little by little, an insidious sound of a drum beaten. This sound drew more near.  [aside]  A-ha, I see where this is going.  Drums in the distance are never a good sign. EMILY    [huffy] Maybe I haven't traveled all over the great wide world, fellow, but even I can probably guess at that. DRUMS SNEAK IN OLIVIA    Mr. Williams, issuing from the hut, heard it, and stood gaping towards it. WILLIAMS    Is that them? MAHAMO    That is they. OLIVIA    The islander murmured, moving away towards the edge of the forest.  EMILY    Does he not notice?  What sort of a dullard is he?  [calling to williams] Do you have a gun? OLIVIA    [exasperated sigh] KIPLING    Calm down, it's just a story. EMILY    Don't go telling me when to calm down!  I just hate stories where stupid people do very stupid things - what possessed this fool to sail half round the world anyway? OLIVIA    [resigned, trying to get it back on track] Sounds of chanting were a now audible accompaniment to the drum. WILLIAMS    What's that they're singing? MAHAMO    [off a bit] They sing of their business. WILLIAMS    [shocked] Oh!  I'd have thought they'd be singing of their feast. MAHAMO    It is of their feast they sing. OLIVIA    It has been stated that Mr. Williams was not imaginative. WILLIAMS    Oh, I say--! OLIVIA    Oh, no!  You stay put! KIPLING    [very knowingly] But a few years of life in climates alien and intemperate had disordered his nerves. There was that in the rhythms of the hymn which made bristle his flesh.  EMILY    Suddenly, when they were very near, the voices ceased, leaving a legacy of silence more sinister than themselves. And now the black spaces between the trees were relieved by bits of white that were the eyeballs and teeth of Mahamo's brethren. MAHAMO    It was of their feast, it was of you, they sang. EMILY    I knew it! KIPLING    It was obvious. WILLIAMS    Look here--! OLIVIA    Cried Mr. Williams in his voice of a man not to be trifled with. WILLIAMS    --Look here, if you've— SOUND    JAVELIN HIT OLIVIA    He was silenced by sight of what seemed to be a young sapling sprung up from the ground within a yard of him—a young sapling tremulous, with a root of steel. KIPLING    Then a thread-like shadow skimmed the air, and another spear came impinging the ground within an inch of his feet. EMILY    As he turned in his flight he saw the goods so neatly arranged at his orders, and there flashed through him, even in the thick of the spears, the thought that he would be a grave loss to his employers. OLIVIA     This—for Mr. Williams was, not less than the goods, of a kind easily replaced—was an illusion. It was the last of Mr. Williams illusions. MOMENT OF SILENCE EMILY    So what shall we do now? SOUND    LARGE BOOK SHUTS DECISIVELY, CUTTING HER OFF OLIVIA    Happy Holidays, all - wherever and whatever they may be. CLOSER OLIVIA    Now that you know how to find us, you'll have to come back.  Maybe next week?  Don't be a stranger - we have enough of those already... The stories dramatized in tonight's episode appeared in a collection titled "A Christmas Garland", first published in October of 1912, collected by Max Beerbohm.  Scruts was written by Arnold Bennett, PC X-36 was written by Rudyard Kipling, and The Feast was written by Joseph Conrad.  These stories have been edited slightly to fit the program.          

Standby for Places
A Christmas Carol 2021

Standby for Places

Play Episode Listen Later Dec 22, 2021 56:17


Please enjoy this special holiday episode of A Christmas Carol by, Charles Dickens.Adapted and Directed by, Margie ZarconeStarring:Dana J. Watkins as ScroogeWilliam Burns as Fred/Charity Solicitor #1/Marley/Broker #1/PoulterorPatrick Pizzolorusso as Bob Cratchit/Young Adult Scrooge/BoyAnna Mae Gordon as Narrator/ Ghost of Christmas PresentJalissa Fulton as Narrator/Ghost of Christmas Past/Peter Cratchit/Tiny Tim/Old JosieFreda Mattea as Mrs. Cratchit/Belle/WomanMargie Zarcone as Charity Solicitor #2/Janet/Broker #2

Scary Stories Around the Fire

An unexpected guest joins a group playing "Hide and Seek" over Christmas in a sprawling mansion. Written by AM Burrage. Adapted by Bryan Renaud. Told by Samantha Garcia. Featuring Aaron Holland, Shannon Leigh Webber, and Ashlyn Seehafer. @scarystoriespod randomactsnetwork.com facebook.com/randomactsnet instagram.com/randomactsnet twitter.com/randomactsnet --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/scarystoriesra/support

Present Company
Maggie Gyllenhaal

Present Company

Play Episode Listen Later Dec 17, 2021 29:27


Maggie Gyllenhaal joins the show to talk about her feature directorial debut, The Lost Daughter. Adapted from pseudonymous Italian novelist Elena Ferrante's book by the same name, The Lost Daughter follows Leda (Olivia Colman), a college professor vacationing in Greece who becomes obsessed with a young mother and daughter that she encounters at the beach. Over the course of Leda's trip, her proximity to the duo prompts memories from her own early days of motherhood, forcing Leda to confront her past. In this interview, Gyllenhaal explains why she was originally drawn to the story, what it was like to contact Ferrante, and how she brought Olivia Colman onto the project. Gyllenhaal also shares what it was like to direct her husband Peter Sarsgaard, explains the importance of creating a loving, supportive on-set environment, and reflects on why opening herself up to the idea of directing took so many years. 

Hex Positive
Witch Ways, Ep. 20 - Eyes Like Coals

Hex Positive

Play Episode Listen Later Dec 15, 2021 4:31


Every witch needs a good repertoire of protection spells. Shields and wards are all well and good, but if you want your magical defenses to have a little more bite, try creating a tiny household guardian with "Eyes Like Coals." (Note: You will have to feed it.) Adapted from The Sisters Grimmoire, Vol. I, 2nd edition. Visit my shop for books and other witchy goodies! Follow the show on Twitter @hex_podcast for the latest updates! For more information on how to support the show and get access to early releases and extra content, visit my Patreon. Proud member of the Nerd & Tie Podcast Network MUSIC CREDITS "Carpe Diem" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

One of Us
Screener Squad: The Power of the Dog

One of Us

Play Episode Listen Later Dec 13, 2021 21:42


THE POWER OF THE DOG MOVIE REVIEW Jane Campion (“The Piano,” “Top of the Lake”) returns to filmmaking after a twelve year hiatus with her newest poetic epic “The Power of the Dog.” Adapted from the book by Thomas Savage, the story focuses on the Burbank brothers Phil (Benedict Cumberbatch) and George (Jesse Plemons). They… Read More »Screener Squad: The Power of the Dog

Hook of a Book
Becoming: Adapted for Young Readers

Hook of a Book

Play Episode Listen Later Dec 11, 2021 7:45


Today, on Hook of a Book, I review Becoming: Adapted for Young Readers, by Michelle Obama. Michelle, a former First Lady, has recently adapted her memoir for younger readers, and I'm so excited to share it with you! Email me at: hookofabookpodcast@gmail.com. --- Send in a voice message: https://anchor.fm/ellie-mano/message