Podcasts about Animal Farm

Pink Floyd's 'Animals', a lyrically dark, musically dense concept album loosely based on George Orwell's 'Animal Farm', is as eerily precient today as it was when first released in 1977. Rob and this week's guest, Portland, Oregon songwriter and
multi-instrumentalist James Cook (Trashcan Joe, Captain's Audio Project), take a deep dive into this sweepingly nihilistic classic. Songs discussed in this episode: Pigs On The Wing (Pink Floyd Cover) - Chrome; Waiting For The Moon, Really Hard To Find - Captain's Audio Project; Breathe (In The Air) - Pink Floyd; Rise Above - Black Flag; Pigs On The Wing (Part One), Astronomy Domine, Dogs, Shine On You Crazy Diamond, Dogs, Pigs (Three Different Ones), Sheep, Pigs On The Wing (Part Two) - Pink Floyd; A Little Bit Here - Trashcan Joe; Satan Wrote This Song - Captain's Audio Project

In this episode, Adam Biles is joined in the bookshop's writing studio by Anna Whitwham, author of Soft Tissue Damage, a raw and electrifying memoir of grief, boxing, and womanhood. Following her mother's death, Whitwham trained and fought competitively as a boxer—an act of both healing and reckoning. She discusses how physical pain can become a language for emotional anguish, how class and family history shaped her connection to the sport, and how boxing offered a surprising community of tenderness and care. A conversation about loss, rage, strength, and the power of being witnessed.Buy Soft Tissue Damage: https://roughtradebooks.com/collections/books/products/soft-tissue-damage-anna-whitwham*Anna Whitwham was born in 1981 in London, where she still lives. She studied Drama and English at the University of California, Los Angeles, Queens University Belfast and at Royal Holloway, London where she teaches a course called ‘Writing Men: The Burden of Masculinity'.She is the author of Boxer Handsome (Chatto&Windus). Her latest book, Soft Tissue Damage is published by Rough Trade Books.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Enjoy a classic story in English and learn 13 uses of ‘work'. FIND BBC LEARNING ENGLISH HERE: Visit our website ✔️ https://www.bbc.co.uk/learningenglish Follow us ✔️ https://www.bbc.co.uk/learningenglish/followus SUBSCRIBE TO OUR NEWSLETTER: ✔️ https://www.bbc.co.uk/learningenglish/newsletters LIKE PODCASTS? Try some of our other popular podcasts including: ✔️ 6 Minute English ✔️ Learning English from the News ✔️ Learning English Conversations They're all available by searching in your podcast app

In this episode recorded live at Shakespeare and Company, celebrated Danish author Solvej Balle returns to the bookshop she once called home to discuss her monumental literary project On the Calculation of Volume. The novel's protagonist, Tara Selter, finds herself reliving November 18th—again and again—opening up a profound meditation on time, memory, isolation, and human existence. Balle reflects on the decades-long journey of crafting this work, the philosophical underpinnings of time loops, and the quiet radicalism of writing it from a female perspective. Touching on everything from Ulysses to Groundhog Day, to quantum physics, she shares how her character emerged through a process of deep listening and experimentation. Tara's attempts to replicate seasons and find meaning through repetition prompt larger questions about how we process time, our relationships, and the rituals that structure our lives. Balle reveals how a “stupid idea” turned into a seven-volume epic currently shortlisted for the International Booker Prize—and how writing it has transformed her own understanding of life, aging, and narrative possibility.Buy On the Calculation of Volume: https://www.shakespeareandcompany.com/books/on-the-calculation-of-volume-i*Solvej Balle was born in 1962, made her debut in 1986 with Lyrefugl, andwent on to write the highly-acclaimed According to the Law: Four Accounts of Mankind (praised by Publishers Weekly for its blend of “sly humor, bleak vision, and terrified sense of the absurd with a tacit intuition that the world has a meaning not yet fathomed”). She's also published a book on art theory, a political memoir, and two books of short prose. On the Calculation of Volume expands the possibilities of the novel and heralds the arrival of a major literary artist.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Just because ANORA wears the Oscars' Best Picture crown doesn't mean the movies nominated turn to dust. In fact, as the Best Picture nominees slowly trickle out to home video, discussing them feels more pertinent. A movie's lifespan isn't limited to the awards calendar, especially when it comes to WICKED.Jon M. Chu's fantasy musical, based on the Broadway show, vacuumed up the world's cash to the tune of nearly $750 million, a testament to the musical's 20+ year success. This thing's been around long enough on its own to discuss it in generational terms.But WICKED owes it all to THE WIZARD OF OZ, being a prequel exploring the college years of Elphaba (Cynthia Erivo) and Galinda (Ariana Grande), who will be known later in life as the Wicked Witch and Good Witch, respectively.Grande's lovably bubbly narcissism makes me laugh. Even the camera can't stop following her hair flips and flighty trots across the sets. Erivo seems incapable of playing a false note. They carry years worth of pain behind a restrictive, poised demeanor, presenting confidence as a defense tower.Our technicolor understanding of the land of Oz is muted by a change in perspective. We're not from Kansas anymore, Toto. Director of photography and frequent Chu collaborator Alice Brooks gives Oz a more tactile, European feel, at times flooding the background with natural light that gives the sets a lived-in presence. This isn't a Marvel Studios CGI nightmare (for the most part).But this idea of a realistic Oz, marked by more serious ventures into ANIMAL FARM-esque allegories for fascist subjugations within a caste system, doesn't always gel with the magic or whimsy WIZARD OF OZ is known for. It feels as though each creative grabbed their own idea of what WICKED should be and stretched it in said direction. The result is something that doesn't coalesce but I'll be damned if I say I didn't have fun with it.Though I'm still stunned Chu got a Critics' Choice Award for Best Director. Go home; y'all are drunk.---Please rate, review & subscribe to The Movies wherever you listen to podcasts!Follow The Movies on Instagram & Bluesky: linktr.ee/themovies_pod

In today's episode Patrick and Greg talk about outcomes that are count variables: when you need to worry about them and what you can do about them within your analytical models. Along the way they also mention: Bela Lugosi, Vlad the Impaler, Patrick the Poker, Count Chocula, Count von Count, drunken bar brawls, secret distributions, K!, bio breaks, second favorite child, Animal Farm, Cliff's notes, A's in band, and more equal zeros. Stay in contact with Quantitude! Web page: quantitudepod.org TwitterX: @quantitudepod YouTube: @quantitudepod Merch: redbubble.com

Presenting a replay of George Orwell's "Animal Farm" bbc radio. Please support these shows with your donation today, thank you. https://mpir-otr.com/sponsors-donations

Send us a textIn this Saturday morning episode of 15 Minutes of Finance, James from 77 Financial Group dives into the latest market news, including the impact of hot Tariff impact, Lululemon's stock tumble, and the hidden gem American Water Works (AWK).Then—story time. James shares an original allegorical tale, The Tale of the Three Farms, inspired by classics like Animal Farm and Hatchet. This financial fable breaks down the concept of unfair trade, undervalued opportunity, and long-term investing in a way that's both entertaining and enlightening.Perfect for those curious about inflation, undervalued companies, and creative ways to understand market dynamics.

Nobel Prize-winning author Abdulrazak Gurnah sits down with Adam Biles in store to discuss his new novel, Theft. Their conversation delves into the intricate interplay between personal history and the enduring legacy of colonialism, examines the complex dynamics of family and servitude, and discusses the challenge of transcending inherited narratives. Buy Theft: https://www.shakespeareandcompany.com/books/theft-2*Abdulrazak Gurnah is the winner of the Nobel Prize in Literature 2021. He is the author of ten novels: Memory of Departure, Pilgrims Way, Dottie, Paradise (shortlisted for the Booker Prize and the Whitbread Award), Admiring Silence, By the Sea (longlisted for the Booker Prize and shortlisted for the Los Angeles Times Book Award), Desertion (shortlisted for the Commonwealth Writers' Prize) The Last Gift, Gravel Heart, and Afterlives, which was shortlisted for the Orwell Prize for Fiction 2021 and longlisted for the Walter Scott Prize. He was Professor of English at the University of Kent, and was a Man Booker Prize judge in 2016. He lives in Canterbury.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3wAuthor portrait Hugo Clair Torregrosa (c) Shakespeare and Company Paris Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Author Zoe Whittal has written acclaimed scripts and books alike, and breaks down her life in books; Steven Beattie recommends three of his favourite funny books, all of which include serious undertones; musician Jordan Astra talks about funk music and Nike shoes; and writer Ian Williams partakes in ‘speed dating therapy”on this episode of The Next Chapter.Books discussed on this week's show include:The Passion by Jeannette WintersonHeroine by Gail ScottRat Bohemia by Sarah SchulmanThe Argonauts by Maggie NelsonShoe Dog by Phil KnightAnimal Farm by Geroge OrwellNot a River by Selva AlmadaThe List by Yomi AdegokeReally Good, Actually by Monica HeiseyThe Sellout by Paul BeattyThe Life and Opinions of Tristram Shandy, Gentleman by Laurence SterneWhat I Mean to Say by Ian Williams

This week, Eric and Josh are joined by Eric's sister Jen! They chat about: visting Australia, Shane, Dances With Wolves, A Nightmare On Elm Street, Animal Farm, Watership Down, The Witches Of Eastwick, Arachnaphobia, our Cartoon Party, and more! They also mention movies screening the week of Friday March 13 - Thursday March 20: Bonnie And Clyde, The Quick And The Dead, Lost Highway, Flow, and Saturday Night Sinema! They neglect to mention A Complete Unknown, and Universal Language returning for encore weeks. Both were booked after the recording of the podcast. You can always check mayfairtheatre.ca for all the current and upcoming movies.

In this episode, we're joined by novelist and filmmaker Xiaolu Guo to discuss her latest novel, Call Me Ishmaelle. A bold reimagining of Moby-Dick, Guo's novel audaciously swaps the gender of Melville's narrator and plunges into a world of hidden identities, maritime adventure, and cultural collision.With host Adam Biles, Guo reflects on her personal and literary journey—from her early, abandoned encounters with Moby-Dick in Chinese to her deep dive into American whaling history and the Civil War. She shares insights on writing in a second language, the challenge of adapting a literary classic, and the influence of Taoism and Darwin's Voyage of the Beagle on her storytelling.Buy Call Me Ishmaelle: https://www.shakespeareandcompany.com/books/call-me-ishmaelle-2*Xiaolu Guo was born in China. She published six books before moving to Britain in 2002. Her books include: Village of Stone, shortlisted for the Independent Foreign Fiction Prize; A Concise Chinese-English Dictionary for Lovers, shortlisted for the Orange Prize; and I Am China. Her recent memoir, Once Upon a Time in the East, won the National Book Critics Circle Award, was shortlisted for the Costa Biography Award and the Rathbones Folio Prize 2018. It was a Sunday Times Book of the Year. Her most recent novel A Lover's Discourse was shortlisted for the Goldsmiths Prize 2020. She is a fellow of the Royal Society of Literature and a visiting professor at the Free University in Berlin.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Send us a textTHE WHALEIt's the fourth episode of Season 14, and our hungry boys are still going for seconds with their rewatch of the recently covered THE WHALE (2022), original episode from TGTPTU's initial pairing that started the epic scarf/Darren Aronofsky season (S11, E2, Airdate 2/17/24).  Jack sits out this first of host Ryan's two redux picks, leaving Ken and Thomas to rehash the original episode. That episode marked an early, and soon to be recurring, appearance by Ryan (this was before he was made a provisional host, which was before his becoming a host and now teetering again on provisional status).  As a gentlemen's agreement between Ryan and Thomas, Season 14 was premised on Ryan agreeing to have The Whale be one of his picks and to actually watch the movie being discussed this second time around, watching the movie being something he was reluctant to and didn't do the first time around as our guest caller at the top of the ep points out. And it wasn't just the caller who got upset by that original episode released just over a year ago: Ken, too, related how he regularly wanted to destroy his device during his relisten. Meanwhile, Thomas repeatedly repeats himself to say again and again how he was impressed by his ability to keep calm during that original episode, if he hadn't mentioned it before.  TGTPTU retreads old ground in covering the adapted play's script and the re-viewing experience (second time for Ken, third time for Thomas). With greater time elapsed, hosts are able to speak more on lead actor Fraser's “Brenaissance,” or lack thereof, and to find new insight into the family dynamics and semiology. A deeper consideration and attention is given to Ellie, the teenage daughter role played Sadie Sink.  So what did Ryan think upon fully watching the film he's reviewing? Wait, did he watch it before recording this episode? No spoilers!  Instead, know that Ken continues to support listening to the podcast at 1.5x speed and recommends getting insurance or at least the extended warranty on your phone in case the temptation to throw it against a wall in rage or smash it under your heel is too great. Thomas, if he hadn't said so, was really impressed by his restraint that initial episode. And Ryan gets personal with addiction while Thomas is a little less calm and Ken gets mileage out of how often someone if coming, going, or knocking on the movie apartment's door.  So find an old Zune in your junk drawer or an iPod or phone you won't mind destroying, put your earbuds in, and come and knock on our door. (Three's company too.)  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @goodpodugly.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!): Podcast: goodpoduglyKen: Ken KoralRyan: Ryan Tobias

History is Repeating: The Comeback of Totalitarianism. Those who forget history are doomed to repeat it. Did you know there are people who purposely want to erase history so that it does repeat? Do you know this was a very common weapon used against nations just a few decades ago?Communism and Fascism were universally rejected in the 1990s. Somehow these are making a comeback and we have to stop it. These two terms refer to economic systems that bring about dictatorships where all commerce, thought, production, power, etc. become centralized in a government and the people do not possess any rights whatsoever. They are awful systems that bring death and oppression. Those of us who are in our 50s or higher were taught to loathe these systems and value freedom and the free market in school. We were taught this through books that showed the awful result of these systems of government. Fahrenheit 451, Animal Farm, Brave New World, Atlas Shrugged, and other works were these books. If you've never read one of these, you really ought to. Ask yourself a couple questions. Do you hold any beliefs today that are in direct opposition to something you believed recently? If so, how did that happen?Do you hold any political beliefs that are completely incongruent? Meaning at total odds with each other? If the answer is yes, you really want to keep listening. Because something has been done to you by outside forces to get you this way. Intentionally. And for sinister reasons. The goals of the societal takedown. Keep in mind they socialist/Marxist/communist people did not believe these points were valid for society. They used these to destroy existing societies so they could replace authority with themselves. https://cdn.subsplash.com/documents/W8FD27/_source/5b8c9068-5344-4a33-b77a-31d54f98a52e/document.pdfDeception is key. It's 100% trickery. You must be mad and outraged at something, even if it's not real. In most cases it's not real. Then somebody sweeps in with a fix. And the fix doesn't even make sense. We're 36 trillion in debt as a nation so we need to cut government. At the same time proposing cutting enormous taxes or even offering refunds. That makes no sense whatsoever. Zero.They had to get rid of religion, specifically Christianity, secondarily Judaism, to do this. That's because adherents of these two faiths hold a morality that doesn't come from mankind. And adherents of these two faiths are also educated. It's hard to change society when the citizenry holds to a moral authority above the state and can also critically sift through information. These two religions also have educated leaders who can sway the populace, and the state can't have that.Well, religion is nearly gone from our society. We are two generations deep into a society that is largely unchurched. And that means any church. Forgetting or rewriting history is also a component. That's the reason for this post. It's all to condition us to believe lies. Today, with the internet being almost universally accessed several times a day by everyone in developed countries, lies spread like wildfire. Social media should be called socialist media at this point. Truth looks stranger than fiction, like understanding how communism comes in. And we lost truth in 30 years while, shockingly, at the same time we had an information revolution. Norway not refueling a nuclear sub is the latest whopper. For those who may not know, nuclear subs and ships only refuel every 20 years and it's not done in a port of call. More at https://firstcenturychristianity.net/history-is-repeating-the-comeback-of-totalitarianism/

Dictatorships, book bans, and doublespeak—just dystopian fiction, or a reflection of the world today? Danielle McLaughlin dives into Animal Farm and Nineteen Eighty-Four by George Orwell, Brave New World by Aldous Huxley, and The Master and Margarita by Mikhail Bulgakov. These classic novels explore power, control, and free thought—ideas that still resonate in 2025. Are we living out the futures they imagined? AMI Audiobook Review is broadcast on AMI-audio in Canada and publishes three new podcast episodes a week on Mondays, Wednesdays and Fridays.Follow AMI Audiobook Review on YouTube & Instagram!We want your feedback!Be that comments, suggestions, hot-takes, audiobook recommendations or reviews of your own… hit us up! Our email address is: audiobookreview@ami.caAbout AMIAMI is a media company that entertains, informs and empowers Canadians with disabilities through three broadcast services — AMI-tv and AMI-audio in English and AMI-télé in French — and streaming platform AMI+. Our vision is to establish AMI as a leader in the offering of accessible content, providing a voice for Canadians with disabilities through authentic storytelling, representation and positive portrayal. To learn more visit AMI.ca and AMItele.ca.Find more great AMI Original Content on AMI+Learn more at AMI.caConnect with Accessible Media Inc. online:X /Twitter @AccessibleMediaInstagram @AccessibleMediaInc / @AMI-audioFacebook at @AccessibleMediaIncTikTok @AccessibleMediaInc

Send us a textPIGSeason 14 continues serving up second helpings of movies previously covered on TGTPTU with PIG (2021). Jack's flick picked this week pulls from his, Ken's, and then recently added host Thomas's post-Eastwood season CAGE UNCAGED (S4, air date 7/23/21). As established in the original episode, the Nicolas Cage movie is set and shot in Portland, Oregon prior to it burning to the ground just shortly after shooting wrapped; while the city remains in rubble, the movie is remembered by the original hosts (Ken, Jack, Thomas) fondly as a film they returned to theaters post-C19 to watch in-person and honor the memory of the city that was, a place of underground restro markets and fight clubs. Now, nearly 3-1/2 years later, the hosts reconsider their predictions for Cage's career and their responses to the film after watching again at-home.  Enjoy Ken, doubled-up NyQuil, and his takes on the flick, including recasting as a Charles Bronson movie, and his quoting Twin Peaks Season 3 (Lynch - rest in power); listen as Jack Letterboxd-checks Ryan about where he was the Summer of 2021; hear for the first time what Portland-area transplant TGTPTU's new and increasingly provisional host Ryan thought of the quiet film; and celebrate with Thomas finding the secret snore-track on the DVD from Multnomah County Library. Bon Appétit. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @goodpodugly.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!): Podcast: goodpoduglyKen: Ken KoralRyan: Ryan Tobias

In this thought-provoking discussion, poet and oral historian Sarah Hesketh discusses her latest book, 2016 (CB Editions), a powerful exploration of one of the most pivotal years in recent history. Through a poetic and documentary approach, she captures the voices of twelve individuals reflecting on key events that shaped the world—Brexit, Trump's election, the Syrian refugee crisis, celebrity deaths, and the climate emergency.Hesketh discusses her unique oral history-meets-poetry methodology, weaving real voices into a literary tapestry that highlights how people experience history personally. She explains the ethical dilemmas of working with real testimonies, her structured yet fluid approach to editing interviews, and how historical narratives evolve over time.The conversation touches on:How the death of Hesketh's father led her to explore grief, memory, and storytelling.The 2016 political landscape and the increasing polarization of public discourse.The challenges of finding diverse interviewees, including Trump and Brexit supporters.The power of literature and poetry to engage with contemporary crises.How the pandemic and Trump's return to power in 2025 reshaped the book's relevance.A compelling discussion on history, human connection, and the enduring power of conversation in fractured times.*Sarah Hesketh is a writer and editor from Pendle, in East Lancashire. She is the authorof the poetry collections Napoleon's Travelling Bookshelf (Penned in the Margins, 2009) and The Hard Word Box (Penned in the Margins, 2014), and the editor of The Emma Press Anthology of Age (2015). She has been an Artist in Residence with Age Concern and The Holocaust Memorial Day Trust. Her work has a focus on socially engaged writing practices and in 2022 she wa awarded a Royal Society of Literature ‘Literature Matters' Award. She currently lives in London and works as Managing Editor for Modern Poetry in Translation.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

New Testament Reading John 19:17-37

MONOLOGUE "Trump's Bold Gamble: Ending the War Biden Couldn't Touch” NEWSMAKER Trump says he has spoken to Putin and agreed to negotiate Ukraine ceasefire https://www.mirror.co.uk/news/us-news/donald-trumps-full-statement-says-34667176  Lt Col.Robert L. Maginnis Airborne-Ranger infantry officer with service in 4 infantry divisions on 3 continents. Author of “Preparing for World War III”, & “Out of this World” OPEN LINES THE CULT OF CLIMATE CHANGE New Jersey Gov. Phil Murphy's administration gives up on new offshore wind https://www.politico.com/news/2025/02/03/murphy-new-jersey-ends-offshore-wind-00202077  Just Over a Year since the NYT announced the "End of Snow"  Tony Heller, Geologist, Weather Historian, Founder of Real Climate Science dot com MONOLOGUE "Pope Francis and the Border Wall Hypocrisy: Preaching Open Borders from Behind Fortified Gates" NEWSMAKER Biological Males Dominate Women's College Basketball Game in Ontario https://www.rebelnews.com/the_centennial_colts_took_on_the_algonquin_grizzlies_in_female_varsity_volleyball_the_other_night_the_colts_slaughtered_the_grizzlies_maybe_it_s_because_two_men_are_on_the_roster  Update on Busty Lemieux with Halton District School Board https://www.rebelnews.com/cops_called_on_rebel_news_as_the_search_for_busty_lemieux_continues  David Menzies, Rebel News Mission Specialist THE X WARRIORS Why Pipeline Energy East is a… er… Pipe Dream Martin Belanger Known on X as @MartyUpNorth_2 THIS DAY IN ROCK HISTORY In 1970, John Lennon performed “Instant Karma!” on BBC's Top of The Pops, becoming the first Beatle to appear on the TV show since 1966.  In 1977, Pink Floyd released their tenth studio album, Animals. Self-produced in the band's Britannia Row Studios in London, the record examined the sociopolitical conditions of mid-1970s Britain, drawing influences from George Orwell's Animal Farm.  In 2007, Sting confirmed the reunion of The Police during a press conference at West Hollywood's Whisky a Go Go club. One day earlier, at the 49th Annual Grammy Awards, the band announced their plans by performing their 1978 hit, “Roxanne.” The renowned English rock band would go on to play a best-selling reunion tour, beginning in May 2007. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special live recording we dive into The Seers, the mesmerising new novel by Sulaiman Addonia. In conversation with Adam Biles, Addonia shares the story behind his bold, unfiltered novel—written as a single, unbroken paragraph—through the voice of Hannah, an Eritrean refugee navigating love, loss, sexuality, and identity on the streets of London. Three powerful readings by Liya Kebede, bringing Hannah's world vividly to lifeThe Seers is a novel that defies definition—sensual, poetic, and politically charged. Addonia's reflections on storytelling, migration, and the search for home will stay with you long after you listen.Buy The Seers: https://www.shakespeareandcompany.com/books/the-seers*Sulaiman Addonia is an Eritrean-Ethiopian-British novelist. He spent his early life in a refugee camp in Sudan, and his early teens in Jeddah, Saudi Arabia. He arrived in London as an underage unaccompanied refugee without a word of English and went on to earn an MA in Development Studies from SOAS and a BSc in Economics from UCL.His first novel, The Consequences of Love (Chatto & Windus, 2008), was shortlisted for the Commonwealth Writers' Prize and translated into more than 20 languages. His second novel, Silence Is My Mother Tongue (Indigo Press, 2019; Graywolf Press, 2020), was a finalist for the 2021 Lambda Literary Awards. His essays appear in LitHub, Granta, Freeman's, The New York Times, De Standaard and Sulaiman Addonia is an Eritrean-Ethiopian-British novelist .Addonia currently lives in Brussels where he founded the Creative Writing Academy for Refugees & Asylum Seekers and the Asmara-Addis Literary Festival In Exile.Liya Kebede is a pioneering model, actress, entrepreneur, and philanthropist. She has worked with top fashion brands like Chanel, Gucci, Yves Saint Laurent, and Estée Lauder, promoting inclusivity in the industry. In 2007, she launched lemlem, a sustainable fashion brand supporting Ethiopian Artisans. Kebede is also a WHO Goodwill Ambassador and founded the lemlem Foundation to improve healthcare and economic opportunities for African women. She promotes literature through her latest endeavour "Liyabraire" and introduced the BB Bookbags collection.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Top Drawer TV- 00:26Ivana & Jay explore the history of television to determine if we are still in “peak” tv or if “The Golden Age” is truly over. The “Truth” Watchlist - 24:51Ivana & Jay reveal all the content on the “Truth” Watchlist! Here's what they plan to watch and read during Season 8:The Insider (1999)The Good Wife (2009) - Pilot EpisodeAbsence of Malice (1981)Animal Farm by George Orwell (1945 - Book)Videodrome (1983)Josie & The Pussycats (2000)Rashomon (1950) A Man From Earth (2007)Outro -  38:00Join us next time when Ivana & Jay watch the very first episode of 2009's The Good Wife! Thank You! The talented voice, SFX and music artists have made our show possible and we owe them a HUUUUGE thank you. Darren Osborne, Announcer & Voice Artist Leslie Seiler, Comedian & Actor - @Leslie_SeilerPaul “PK” Kingston, Comedian & Actor -@PaulPKKingstonChris Shapcotte, Voice Actor -@shapshots Laura Carney, News Anchor -@LauraMCarney SFX are courtesy of:Mike Koenig fromSoundBible.com Explosion & Debris & Mike Koenig (SoundBible.com)Phantom from Space by Kevin MacLeod (incompetech.com)Licensed underCreative Commons: By Attribution 3.0 LicenseIntro / Outro Music"Itty Bitty 8 Bit" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License⁠http://creativecommons.org/licenses/by/4.0/⁠

Join us for a thought-provoking conversation with Amber Massie-Blomfield, author of Acts of Resistance: The Power of Art to Create a Better World. This conversation, recorded in store, dives into the profound role art plays in times of crisis. Amber shares stories of artists who defied oppressive regimes, like Claude Cahun's surrealist resistance in Nazi-occupied Jersey and Susan Sontag's production of Waiting for Godot during the siege of Sarajevo. We explore how art inspires activism, questions societal norms, and fosters collective resilience. From daring theatrical productions to sunflower-lined streets, Amber reveals art's transformative potential to unite and inspire. Whether you're an artist, activist, or curious thinker, this episode challenges the notion that art is “just” entertainment and posits it as a force for meaningful change.Buy Acts of Resistance: https://www.shakespeareandcompany.com/books/acts-of-resistance*Amber Massie-Blomfield's first book, Twenty Theatres to See Before You Die, was published by Penned in the Margins in May 2018, and received the Society of Authors' Michael Meyer Award. Formerly executive director of internationally renowned theatre company Complicité, she has also worked as an arts producer with companies including Camden People's Theatre, Barbican, Actors Touring Company, tiata fahodzi, and English PEN. She lives in Brixton. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Vor 75 Jahren, am 21.1.1950, starb Geroge Orwell. Er war einer der bedeutendsten Schriftsteller des 20. Jahrhunderts und erschuf die "Big Brother"-Dystopie. Von Andrea Kath.

In this pivotal episode, Adam Biles speaks with French journalist and author Salomé Saquet about her urgent new book, Résister. Recorded two days after the death of French far-right leader Jean-Marie Le Pen and coinciding with Donald Trump's second inauguration, this conversation delves into the global rise of far-right movements, their strategies, and the grave implications for democracy.Saquet discusses the normalisation of extremist politics in France, the erosion of democratic institutions, and the global connections among far-right leaders and billionaires. She highlights the dangers of misinformation, attacks on the judiciary, and the media's complicity in enabling these movements. Drawing from historical patterns and international parallels, Saquet issues a powerful call to resist authoritarianism through informed action, dialogue, and collective effort.The episode concludes with practical advice for combating despair and taking meaningful steps in everyday life to safeguard democratic values—whether by sharing information, engaging in constructive dialogue, or participating in grassroots movements.*Salomé Saqué is a French journalist and author known for her work on social and political issues like climate change, inequality, and women's rights. She began her career with internships at Le Monde diplomatique and France 24, and later joined Blast, where she heads the economic section. Saqué has written several books, including "Sois jeune et tais-toi : Réponse à ceux qui critiquent la jeunesse" (2023), which addresses the concerns of French youth. Her 2024 essay, "Résister", calls for resistance against the rise of the far right in Europe.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Auf einer Farm beschließen die Tiere, sich von der Knechtschaft der Menschen zu befreien. Bis heute gilt George Orwells dystopische Erzählung "Animal Farm" von 1945 als Erklärstück dafür, was passiert, wenn Macht missbraucht wird. (Wdh. vom 20.03.2022)**********Ihr könnt uns auch auf diesen Kanälen folgen: TikTok auf&ab , TikTok wie_geht und Instagram .

The Slanted Attic Experience Presents:Episode - 24 "The Slanted Attic Book Club"Animal FarmBy: George Orwell - Published 1945 Welcome back to The Slanted Attic Experience, where compelling conversations and fresh perspectives come to life. This episode marks another chapter in our newest series, The Slanted Attic Book Club, where we dive deep into timeless literary works and uncover the layers that make them unforgettable. For Episode 24, host Tyler is joined by Graham, Hunter, and Luis to discuss George Orwell's enduring allegorical classic, Animal Farm.In this special installment, the panel embarks on an in-depth exploration of Orwell's masterpiece. From its gripping portrayal of rebellion and revolution to its sobering critique of power and its abuse, the discussion highlights how Animal Farm serves as both a product of its time and a universal cautionary tale. The conversation moves beyond the surface to examine the novel's historical context, connecting its origins in Orwell's reflections on totalitarianism to its relevance in modern political discourse.One of Animal Farm's most compelling aspects is its characters, and this episode takes time to uncover their deeper meanings. The guests analyze the ambitious yet flawed Napoleon, the idealistic Snowball, and the hardworking Boxer, drawing parallels between these archetypes and the people or systems they represent. Through this lens, the group reveals how Orwell's deceptively simple farm animals deliver a powerful message about society and human nature.The Book Club also dives into the book's vivid settings and rich symbolism, discussing how the pastoral simplicity of the farm contrasts with the complex and often dark realities it portrays. Whether you're revisiting Animal Farm or encountering it for the first time, this thoughtful discussion is designed to engage, inform, and spark reflection.Don't forget—new episodes of The Slanted Attic Book Club and other content from The Slanted Attic Experience drop every other Monday at 10:30 AM EST. Have a favorite book you'd like us to cover? Reach out to us on social media or submit your suggestions directly. We'd love to hear from you and feature your picks in an upcoming Book Club installment!Catch past episodes, stay updated, and connect with us through our Linktree. Let's keep the stories and discussions alive—see you in the attic!

Originally published by The Stinging Fly Press in Ireland on 2015, Claire-Louise Bennett's POND found a wider audience with its UK publisher, the then nascent Fitzcarraldo Editions—the paradigm-shifting house that is currently celebrating its 10th birthday. POND is an extraordinarily erudite book, which wears that erudition extraordinarily lightly. It could be understood as being in dialogue with writers such as Huysmans, Virginia Woolf, Sylvia Plath, John Berger, as well as with any number of contemporary authors who feel determined that their books should be about something. But POND is also funny, earthy, dirty, silly, profound and confounding. In short, it is unlike anything else, the kind of book that defies the “if you liked this, you'll like that” algorithm. Just the kind of book we love at S&Co.Buy Pond: https://www.shakespeareandcompany.com/books/pond*Claire-Louise Bennett grew up in Wiltshire and studied literature and drama at the University of Roehampton, before moving to Ireland where she worked in and studied theatre for several years. In 2013 she was awarded the inaugural White Review Short Story Prize and went on to complete her debut book, Pond, which was shortlisted for the Dylan Thomas Prize in 2016. Checkout 19 was published by Jonathan Cape in 2021 and was part of the New York Times 10 Best Books of 2022 Selection.Claire-Louise's fiction and essays have appeared in a number of publications including The White Review, The Stinging Fly, gorse, Harper's Magazine, Vogue Italia, Music & Literature, and The New York Times magazine. She also writes about art and is a frequent contributor to frieze. In addition she has written for Tate etc., and Artforum, and a number of international exhibition catalogues. In 2016 she was writer-in-residence at Temple Bar Gallery & Studio. In 2020, Milan based art publisher Juxta Press published Fish Out Of Water, an essay Claire-Louise wrote in response to a self-portrait painting by Dorothea Tanning. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Text us about this show.Cody James is a writer and multi-instrumentalist whose songs are from the heart. Through his life he's taught himself to play several instruments proficiently and the art of songwriting. His self-produced recordings are as good as anything you'll find and his songs are thoughtful both in arrangement and lyrically. Cody draws on his life experiences to craft songs that are deep in meaning and that will capture your attention with the variety of genres he pulls from to create music that will satisfy most music fans. You're invited to check out what Cody has to say along with a couple of tracks from his latest EP, Gather Your Gold."Queen B" and "Gather Your Gold" written and perfomed by Cody James℗ 2024 The Animal Farm. Used with permission of Cody James.Support the showVisit Into The Music at https://intothemusicpodcast.com!Support the show: https://www.buymeacoffee.com/intothemusic E-mail us at intothemusic@newprojectx.com YouTube Facebook Instagram INTO THE MUSIC is a production of Project X Productions, Appleton, WI.Host/producer: Rob MarnochaVoiceovers: Brad BordiniRecording, engineering, and post production: Rob MarnochaOpening theme: "Aerostar" by Los Straitjackets* (℗2013 Yep Roc Records)Closing theme: "Close to Champaign" by Los Straitjackets* (℗1999 Yep Roc Records)*Used with permission of Eddie Angel of Los StraitjacketsThis podcast copyright ©2025 by Project X Productions. All ...

The publication of The Coin by Yasmin Zaher marks the arrival of a determinedly contemporary, sometimes confounding, always compelling voice in English-language literature. Telling the story of a young Palestinian woman, struggling to make her life in New York City, we quickly get to know a woman of complexities and contradictions… She's the heir to a vast fortune—and with the tastes that match such wealth—but is denied access to her inheritance, and is living on a meagre-ish stipend in one of the world's most expensive cities. She's a teacher in a middle school — a job she kind of respects, kind of ridicules, kind of loves, and kind of despises. She's a woman obsessed with purity and personal hygiene, but who also fully embraces the often impure, sometimes unhygienic, undertaking of casual sex. And she's a Palestinian whose memories and knowledge of her homeland are ever-receding in the rear view mirror, but who is finding the American soil increasingly resistant to the putting down of roots. With all these tensions, something in her life is going to have to give. And what a ride we're in for when it does.Buy The Coin: https://www.shakespeareandcompany.com/books/the-coin*Yasmin Zaher is a Palestinian journalist and writer born in 1991 in Jerusalem. The Coin is her first novel.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In a world overwhelmed by complex political challenges and endless commentary, where can we turn for insight into how we got here—and where we might go next? From the survival of democracy to the rise of AI, from confronting inequality to resisting surveillance, today's problems demand deep thinking.In his latest book The History of Ideas, David Runciman explores how the rich history of political thought offers fresh perspectives on contemporary issues. What can the creator of the Panopticon teach us about resisting surveillance? How do the ideas of a former slave and a French Existentialist redefine liberation? And could a utopian novel from 1872 illuminate our understanding of artificial intelligence?David Runciman joined Adam Biles for a spirited journey through radical thinkers and ideas of the past 250 years. Discover how their questions and insights remain strikingly relevant today, and why embracing diverse perspectives is key to understanding our world—and ourselves.Buy The History of Ideas: https://www.shakespeareandcompany.com/books/confronting-leviathan-ii*David Runciman is Professor of Politics at the University of Cambridge and the former Head of the Department of Politics and International Studies.His previous books for Profile include The Handover, Confronting Leviathan, Where Power Stops and How Democracy Ends. He writes regularly about politics for the London Review of Books, created the widely acclaimed weekly podcast Talking Politics and is host of the new podcast Past Present Future.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Why are we so obsessed with the apocalypse? Is it a reaction to the state of the world—climate catastrophe, regional wars threatening global conflict, pandemic scares, and the unsettling rise of AI—or does it run deeper? Is it inherent to the modern world or, perhaps, the human condition? And why are we so captivated by apocalyptic stories in books, films, TV shows, video games, and art—sometimes improbable, sometimes terrifyingly possible?Dorian Lynskey explores these questions in Everything Must Go. He starts in ancient times, with a detour through the Book of Revelation, before focusing on the 19th century, when humanity began to grasp that scientific advances could both transform and destroy the world. The 20th century brings the bomb, robots, and intelligent machines—the seeds of a potential end. Like the best non-fiction, Lynskey's focus on a specific subject—armageddon—offers deeper insights into how we view ourselves, interact with others, and perceive our world.Buy Everything Must Go: https://www.shakespeareandcompany.com/books/everything-must-go-5*Dorian Lynskey writes about music, film, books and politics for publications including The Guardian, The Observer, the New Statesman, GQ, Billboard, Empire, and Mojo. His first book was 33 Revolutions Per Minute: A History of Protest Songs. A study of thirty-three pivotal songs with a political message, it was NME's Book of the Year and a 'Music Book of the Year' in The Daily Telegraph. His second book, The Ministry of Truth: A Biography of George Orwell's 1984, was longlisted for both the Baillie Gifford Prize and the Orwell Prize. He hosts the podcasts 'Origin Story' and 'Oh God, What Now?'.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Flip Noorman is zanger en theatermaker. Noorman is de frontman van theatergezelschap ‘De Noormannen'. Als zanger trad Noorman op met herinterpretaties van het werk van Leonard Cohen en Tom Waits. Voor het programma ‘Bellse Parese' ontving Noorman in 2014 de prestigieuze Wim Sonneveldprijs. Recent maakte hij de muzikale voorstelling ‘Animal Farm'. George Orwells parabel ‘Animal Farm', één van Noormans favoriete boeken, was daarvoor het vertrekpunt. Femke van der Laan gaat met Flip Noorman in gesprek.

'All art is propaganda,' wrote George Orwell, 'but not all propaganda is art.' Moving from World War I to the 'War on Terror' and beyond, The Story of British Propaganda Film (Bloomsbury, 2024) shows how the emergence of film as a global media phenomenon reshaped practices of propaganda, while new practices of propaganda in turn reshaped the use of the moving image. It explores classic examples of cinematic propaganda such as The Battle of the Somme (1916), Listen to Britain (1942) and Animal Farm (1954) alongside little-known newsreels, 'telemagazines' and digital media initiatives, in the process challenging our understanding of propaganda itself, and its many diverse manifestations. Richly illustrated with unique material from the BFI National Archive, the book shows how central propaganda is to the development of British film, and how it has filtered our understanding of modern British history, from narratives of decolonisation to the celebration of pop culture and the meanings of the postwar consensus. In a contemporary moment so preoccupied with misinformation, malinformation and disinformation, Dr. Scott Anthony explains why the response to the ubiquity of the propaganda film has often turned out to be the production of ever more propaganda. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

'All art is propaganda,' wrote George Orwell, 'but not all propaganda is art.' Moving from World War I to the 'War on Terror' and beyond, The Story of British Propaganda Film (Bloomsbury, 2024) shows how the emergence of film as a global media phenomenon reshaped practices of propaganda, while new practices of propaganda in turn reshaped the use of the moving image. It explores classic examples of cinematic propaganda such as The Battle of the Somme (1916), Listen to Britain (1942) and Animal Farm (1954) alongside little-known newsreels, 'telemagazines' and digital media initiatives, in the process challenging our understanding of propaganda itself, and its many diverse manifestations. Richly illustrated with unique material from the BFI National Archive, the book shows how central propaganda is to the development of British film, and how it has filtered our understanding of modern British history, from narratives of decolonisation to the celebration of pop culture and the meanings of the postwar consensus. In a contemporary moment so preoccupied with misinformation, malinformation and disinformation, Dr. Scott Anthony explains why the response to the ubiquity of the propaganda film has often turned out to be the production of ever more propaganda. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

'All art is propaganda,' wrote George Orwell, 'but not all propaganda is art.' Moving from World War I to the 'War on Terror' and beyond, The Story of British Propaganda Film (Bloomsbury, 2024) shows how the emergence of film as a global media phenomenon reshaped practices of propaganda, while new practices of propaganda in turn reshaped the use of the moving image. It explores classic examples of cinematic propaganda such as The Battle of the Somme (1916), Listen to Britain (1942) and Animal Farm (1954) alongside little-known newsreels, 'telemagazines' and digital media initiatives, in the process challenging our understanding of propaganda itself, and its many diverse manifestations. Richly illustrated with unique material from the BFI National Archive, the book shows how central propaganda is to the development of British film, and how it has filtered our understanding of modern British history, from narratives of decolonisation to the celebration of pop culture and the meanings of the postwar consensus. In a contemporary moment so preoccupied with misinformation, malinformation and disinformation, Dr. Scott Anthony explains why the response to the ubiquity of the propaganda film has often turned out to be the production of ever more propaganda. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

'All art is propaganda,' wrote George Orwell, 'but not all propaganda is art.' Moving from World War I to the 'War on Terror' and beyond, The Story of British Propaganda Film (Bloomsbury, 2024) shows how the emergence of film as a global media phenomenon reshaped practices of propaganda, while new practices of propaganda in turn reshaped the use of the moving image. It explores classic examples of cinematic propaganda such as The Battle of the Somme (1916), Listen to Britain (1942) and Animal Farm (1954) alongside little-known newsreels, 'telemagazines' and digital media initiatives, in the process challenging our understanding of propaganda itself, and its many diverse manifestations. Richly illustrated with unique material from the BFI National Archive, the book shows how central propaganda is to the development of British film, and how it has filtered our understanding of modern British history, from narratives of decolonisation to the celebration of pop culture and the meanings of the postwar consensus. In a contemporary moment so preoccupied with misinformation, malinformation and disinformation, Dr. Scott Anthony explains why the response to the ubiquity of the propaganda film has often turned out to be the production of ever more propaganda. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

On the night of Friday, 13 November 2015, three suicide bombers blew themselves up outside the Stade de France during a football match between France and Germany, attended by President François Hollande. By 1am the next morning, 130 victims were dead, and 416 others were injured, many critically. Seven attackers were killed, and two more died in a shootout with police days later.In September 2021, nearly six years later, the trial of 20 men accused of involvement in the attacks began in a specially built courtroom near the Palais de Justice. Fourteen were present, six tried in absentia, and only one, Salah Abdeslam, had directly participated in the attacks. The others were involved in planning, logistics, or assisting the terrorists. With many defendants refusing to testify and the trial featuring mostly secondary figures, some doubted whether it would be meaningful. However, in V13, Emmanuel Carrère's gripping account, it becomes clear that the trial was far from a failure. As he writes, it became "a unique experience of horror, pity, proximity and presence.” The book, based on Carrère's weekly dispatches for L'Obs, immerses readers in the trial, offering a vivid, firsthand perspective of this historic event.Buy V13: https://www.shakespeareandcompany.com/books/v13*Emmanuel Carrère, novelist, filmmaker, journalist, and biographer, is the award-winning internationally renowned author of The Adversary (a New York Times Notable Book), Lives Other Than My Own, My Life As A Russian Novel, Class Trip, Limonov and The Mustache.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcast.Competition ends on 11th December 2024. The winner will be contacted via Twitter. Our guests:https://www.wethecurious.org/ Chris Dunford, Sustainability and Science Director at We The Curious As Sustainability and Science Director, Chris Dunford has been responsible for Sustainable Futures at We The Curious since 2011. During that time, he has introduced a sector-leading programme of environmental best practice, innovative technologies, and organisational change. In 2019, We The Curious became the first science centre in the world to declare a climate emergency and pledged to meet ambitious decarbonisation targets in this decade, implemented alongside climate change adaptation.Beyond We The Curious, Chris has held positions as Head of Environmental Sustainability at UKRI, Elected Director of the Bristol Green Capital Partnership, Mentor of Arizona State University's ‘Sustainability in Science Museums' Global Fellowship, and Chair of the ASDC Decarbonisation Group. Chris' background is in science communication and stand-up comedy. https://w5online.co.uk/Victoria Denoon is the Head of Visitor Experience at W5 Science and Discovery Centre.Victoria joined W5 Science and Discovery Centre in March 2020 and has responsibility for all aspects of W5's operations. She is also currently an ASDC Trustee. Prior to joining the team at W5, she worked in Higher Education in the United States for 15 years with a particular interest in advancing the careers of women in STEM fields. http://www.aberdeensciencecentre.org/Bryan Snelling is the CEO of Aberdeen Science Centre. He's been in this position for five years having started in November 2019. Bryan has worked in the visitor attraction sector for 11 years having previously enjoyed 6 years as CEO at The Gordon Highlanders Museum in Aberdeen. Bryan has worked in many sectors during his career including education having worked across the UK in Portsmouth and London before moving to Aberdeen. Bryan is originally from South Wales and in his spare time he enjoys playing the guitar, playing cricket and reading. https://www.sciencecentres.org.uk/Shaaron Leverment is the Chief Executive at The Association for Science and Discovery Centres.Shaaron is the CEO of ASDC and has over 20 years' experience working in science engagement and education. She stands for the value of science centres and museums for social good, as community assets that are accessible and relevant for a more diverse public.Shaaron joined ASDC in 2016 as the Deputy CEO. She is also the co-founding director of 'Explorer Dome' that engages over 70,000 children and adults every year. She leads on a number of national and international programmes and collaborations that aim to improve the relevance and accessibility of STEM for a more diverse public. As a past president of the British Association of Planetaria, she is also currently the EDI co-chair of the International Planetarium Society. Shaaron is mum to two boys, and the owner of a large hairy Golden Retriever.She is part of varied networks, working with schools, universities, science centres, museums and volunteer groups, as well as nation-wide professional associations and Government agencies. She has created and directed national and international (EU) science engagement programmes, including leading the Horizon 2020 Hypatia programme in the UK to support greater gender inclusion in informal science education, and is the driving force behind Our Space Our Future, supporting participative practice in space science outreach.Through work with ASDC, Ecsite and other international partnerships, Shaaron is known for her work to support greater equity and inclusion within our STEM education and engagement organisations, with the ambition of embedding more equitable practice for transformative organisation-wide change. Transcription:  Paul Marden: Welcome to Skip the Queue. A podcast for people working in and working with visitor attractions. I'm your host, Paul Marden. Now, today's episode is a special one. A few days ago I was at the Association for Science and Discovery Centre's annual conference recording in front of a live studio audience. Joined by a panel of the great and good from the Science and Discovery Centre community, Victoria Denoon, Head of Visitor Experience at W5 Science and Discovery Centre. Bryan Snelling, the CEO of Aberdeen Science Centre. Chris Dunford at ASDC Sustainability Group Chair and Sustainability Director at We the Curious. And Shaaron Leverment, the CEO of ASDC. Now, I have to say, this was a bit of a proof of concept for us and we had a few technical gremlins, but whilst the sound quality isn't brilliant, the conversations absolutely were. Paul Marden: So without further ado, let's go over to that recording I took a couple of days ago. Why don't we start with our icebreaker questions? So this is a tradition for the podcast and nobody has been prepared for this. So, Victoria, you'll like this one. It's a really easy one. Bauble or custard cream? Victoria Denoon: You said it was going to be easy. Paul Marden: Oh, no, I could give you my answer straight away. It's a firmly held belief for me. Of course, it's the only answer to that question. Bryan, you have to live in a sitcom for the rest of your life. Which one? And why? Bryan Snelling: Oh God, can I have the ball? But do you know what? The only one that sprung to mind was Only Fools and Horses. I think, you know, a bit of dodgy dealing here and there. Can't go wrong with that, I think. Yeah, Wheeler dealing, you know what I mean? Paul Marden: One day Wanda's There'll be millionaires. Chris, play 10 instruments or speak 10 languages. Chris Dunford: Oh, horrible. I'm going to go for 10 instruments because I feel as if Google can do the rest. But 10 instruments? I can finally record my own albums. Paul Marden: And Shaaron, last but not least, control time like Hermione or Fly Like Harry. Shaaron Leverment: Oh, God, fly Like Harry, Paul Marden: Really? Shaaron Leverment: Yeah, yeah, 100%. Paul Marden: You don't need a time turner to be in every session. That wasn't the latest question at all. Okay, let's get cracking then with the main interview. Shaaron, first question is for you. This year and next sees the 25th anniversary of the millennium funded science centers which saw a huge amount of investments into science communic engagement across the country. What did that do to shape science in the last quarter of the century? And where do you think it will take us next. Shaaron Leverment: Great question. Paul Marden: Thank you. Shaaron Leverment: Like 25 years ago, as I mentioned in my talk, even no one really knew what science communication was. You know, now obviously there's masters in it, there's people who are doing PhDs in it and I think it's actually becoming a very important part of policy and recognised as strategically important in terms of the way in which nation engages with science. And I do believe that's because we have these amazing places across the U.K. now. Let's be honest, like a lot of them existed beforehand. There was at least 6, including Satrasphere, which is now Aberdeen Science Centre, which existed before the Millennium centers. And then suddenly all of these centers were. But now we've got 60, nearly 70 across the entire places. The Lost Shore is just open, which is all about surf and science. Shaaron Leverment: I think science, referring to one of our keynotes, is really becoming part of culture. And then we're no longer looking at sort of museums and centres as like cathedrals of science. We're looking at them as real kind of cultural and community assets. So that's where I think. I think that's where the trajectory is going for the next 25 years. I'll just wrap that into the end of that. Paul Marden: This is a follow up for that and really anyone can join in on this one. Thinking more about where we go in the next 25 years, let's talk about funding streams because we had a big lump of money back just before the millennium projects get them kicked off and we're unlikely to see that level of lottery funding again. So how can centres, after all, they are visitor attractions and charities in many cases. How do they diversify their income streams? Victoria Denoon: I think there's two things about that and one's really important from the ASDC perspective because there's what we can do individually, but there's also what we can do collectively as a network. So you know, we are looking at that particularly from the Millennium Science Centre perspective. Victoria Denoon: And obviously that's a bigger voice if we do that together. So that's really important to have those conversations. At W5 we do that by increasing what we do for corporate hire. We do a W5 late program, which is an 18 plus evenings for adults to come down. And because we're going to be 25 years old next year, there's that nostalgia that really helps sell that. So we're looking at key events to drive revenue across the year to really get more people in our door who wouldn't come to us otherwise. Bryan Snelling: Yeah, I think it's obviously very important to diversify our income. But what we're talking about here, in terms of the money we got in 2019, you're only really going to get that sort of money again from very large institutions or government. And I think whether you're trying to persuade an individual to come and visit your science centre or local, national, devolved governments to give you money, it's all about the message that you're sending. It's about the science centres are really important part, and we were talking about it earlier on, the culture of what we're doing here. So whether you're just one individual or a multinational that has big bucks, you've really got to try and make them understand that. Chris Dunford: I think it's. Yeah, I think it's almost as well as diversifying to new funders, it's also diversifying what the existing funders will be happy to fund, because I think the funders understandably want the shiny new exhibition, the lovely new outreach in the brand advance, the school workshop photo opportunity. And those are all good things. And we couldn't do those things without the funders. But they'll need to. As these buildings getting older, they need to recognize at some point that those things can take place in the building where the roof leaks and it closes in the summer because the heat wave and the cooling system can't keep up. So I think if you're saying to the funders, yes, you can support this workshop, but we will need some contribution towards the rooms that the workshop take place in. Chris Dunford: So I think it'd be helpful to understand that. And to do that, we just need to make the case better to our value. So it's not just this extra news thing, but day to day supporting us to literally keep the lights on and keep the rain out of the roof. Bryan Snelling: Can I just add, I think there's also an important thing here about mission drift. We should be true to our own mission. We should know where we're going, our direction, and not have as much as possible. Because I understand it's a balance. Not have as much as possible. The funder direct what we do. It should be the other way around, or at least. And one of the big words of this conference that I've heard is collaboration. And we shouldn't just be doing it all the money, we should be actually understanding this is what we should be doing and this is how we're going. You should be coming on board with us. Paul Marden: You risk the tail wagging the dog, don't you? If all you do is chase the sources of funding. And you do that in a haphazard way. It's got to follow, as you say, it's got to follow the mission and the core values of the centre. Victoria Denoon: And it is a relationship, you know, it's like philanthropy and, you know, universities doing their work with donors. I mean, you really do have to have mutual respect and understanding and be looking for sponsors or funders or partners who have the same mission and values that you do. That conversation becomes a lot easier. Paul Marden: Absolutely. Shaaron, any thoughts? Shaaron Leverment: I think I agree with what they're saying. It's really well put. Paul Marden: This is an audience question and this is from Kate Allen from Purple Stars. And she asked me, is the A in steam in cooperate and why it's not a binary question. Chris Dunford: Right. Bryan Snelling: Look it up. Victoria Denoon: Yes. Bryan Snelling: Did you see the inflection in that? Paul Marden: Absolutely. Bryan Snelling: I think it's a two way process. I think that the A is very important. And again, I'm gonna repeat myself, but I think it's been a big part of what the conference has been about and it's been about collaboration. Yes, it's important, but it's a two way process because it's not all about us incorporating the arts. It's also about the arts incorporating the st, the E and the M and the science elements. So I think it's a two way process at the moment. I feel this is just my own opinion that it's a little bit more give than take. Shaaron Leverment: I think there's an interesting, you know, there's an interesting conversation of like, do you need an artist for it to be art? What is art and what is science? You know, and actually, you know, so much of, you know, the engagements that we see involve huge creativity, kids making planets and things like that in science. I do think that we need to use all the tools to get across these massive ideas. And I don't actually even know what science is anyway, so I'm on the back. Shaaron Leverment: And I also noticed in Tom Crick, when he was looking at the curriculum, they separate mathematics and numeracy from science and tech, you know, and so in science, tech engineering is often considered the invisible E in stem. Maths is often considered the invisible M in STEM in science and discovery centres, you know, and so the arts as well. I fully believe that we need to be trans and multidisciplinary 100%. But you know, I think it includes, you know, the music and everything. I think includes absolutely everything. So maybe these acronyms, which is not, they're not useful at all. Paul Marden: I don't think it helps. One of the things that we talked about when we first. We were spinning ideas around this episode, weren't we? And you talked about the idea that you shocked me, that science matters to me and I care about it. And it's something that I enjoy doing with my family. And to consider that isn't for the government to consider. That's not really part of culture because they're funded quite separately. It offends my roles, I think. Shaaron Leverment: But also, you know, it's just another beautiful way of looking at the world. You might look up at a night sky, you know, like Mara or Kilda, like we're hearing by Este. And you might look at it with eyes where you're just wondering at the jewelry of creation or making pictures in the stars. Or you might also be wondering about, well, maybe there's a planet out there. Shaaron Leverment: And I think you can look with all eyes and you can. It's all in wonder. And the fact that they are segregated, it comes back to school science, I think. I think actually in the normal world, as human beings, we don't have to separate them, but it's just very hard, especially when these are crazy funding lines. Like Tom mentioned the difference. I did not know that festivals are considered part of culture, but science festivals aren't. It's madness. Chris Dunford: It also depends in a way what you're doing. So if you're putting the A into STEAM  because you say that as a society, as a cultural attraction, we want to involve ourselves, then obviously, yes, we don't want to. You know, it's inclusive because as Shaaron said, they can. They bring different things to the table. But if you're putting an A in there because you're saying that art is the same as the others, then they're no different. But that's good. It's good that art and science kind of behave in different ways. So. So they both start with an idea or a question. They can both be kind of curious or stimulated by something. But then whether we do night sky or whatever, the way that art might scrutinise the night sky would be different to the way that science will scrutinise. And that's fine. Chris Dunford: They can complement each other. It's not. You need to recognize the differences in those kind of, I don't know, the intellectual disciplines, so they can support each other rather than say, well, artists, science, design. It's not as simple as that. They're different, but that's okay. Victoria Denoon: I do think they play a part together in making things more accessible to people. So if you look at major technology companies, they focus just as much on the design and the look of some of their products as they do on the actual technology that goes into them. So there's a lovely added experience there with putting that together. I think it's very important, but for different reasons. Paul Marden: Absolutely. There's been a lot of talk at the conference about diversity and inclusivity. To a certain extent, inclusion is about understanding who your audience is and understanding what it is that they need. Paul Marden: So let's dig into that about your three science centres. What are the customer demographics, what does the audience look like and what areas of diversity and inclusion are important to them? Victoria Denoon: Well, I think that assumes we've actually asked our audiences, you know, what is important to them. And I don't, you know, I'd like to sort of throw that over to other representatives for science centres because we have done some of that, but we probably haven't done it enough to be able to actually answer that question. That's something we are really looking at because we have a lot of different information about the demographics, but not really what they want to see us do. So we're looking at different focus groups and how to involve more people in that to get a better picture of that for our particular science centre. Bryan Snelling: I think we were very lucky to receive a lot of well enough ISF funding plus local funding to completely overhaul our science centre four years ago. What happened four years ago, it was wonderful. But as Shaaron said, we're actually not a millennium sites and we've been going for 36 years. I think tech request, slightly longer than us, Shaaron Leverment: 38.Bryan Snelling: There we go. But not many longer than us. But over that time we've asked and we found out a lot of information about what our visitors wanted. And similar to what Victoria said, we don't necessarily ask enough. We recognise that's a bad thing. We need and we are putting in place and now to evaluate to get feedback more. But back then were very aware of sort of things that we needed to do. We needed to be wheelchair user friendly. Bryan Snelling: So everything is now accessible throughout the science centre. We're one of the lucky places that have a changing places facility which is incredibly good and it's gone down very well. We also have a sensory space which was retrofitted admittedly. But if you look at our feedback on the online, that's gone down fantastically well and it allows some of our neurosensitive visitors just to calm down, go there and just take a moment and then come back and I think the very fact that we're a science centre, it's very hands on, it's very stimulating. Bryan Snelling: So having that has been a real wonderful addition to what we've got. And I think we've also got to remember financial inclusion. So a lot of the sort of sponsorship that we look for is to work with in Scotland. It's called simd, the Scottish Index for Multiple Deprivation. Chris Dunford: I'm sure there's a similar thing in England, but I want to know what it is. Paul Marden: We'll talk about that in a minute. Bryan Snelling: But we a lot of again, it's not mission drift when you are also doing it. A lot of our funders want to give us money so we can support those maybe who don't have as much money as the rest of us. So all of these things we've taken into account and parts of what we do at the science centre. Chris Dunford: Yeah. I suppose the question ultimately is when we ask our visitors what does inclusion, diversity mean to them, we won't get the answer we need. And that's because if you have a certain demographic who are visiting and you ask them diversity, inclusion, then obviously they will speak from their own life experience. But actually the people need to ask the people who aren't visiting. So in that respect, I mean the things we draw upon, we work closely with things like local council, so we have access to their data of who's living in the city and who's facing areas of deprivation and that kind of thing. Chris Dunford: So you can kind of fairly accurately figure out who's around you in your community and who's around you in your community isn't mirroring who's coming through the door and straight away you know where your focus areas are and the reason they might not be visiting, it might be economic, but it could also because there's things that you do unintentionally. It makes it look like you're not for them. Paul Marden: Yes. Chris Dunford: So only by engaging with them, seeing you through their eyes, will you understand maybe why you've been doing a thing which wasn't encouraged when they through the door. I suppose the last thing to say on that is often it's very tempting to think the inclusion thing is going to be groups that can't afford to visit and therefore Chapel saying it may be then detracting from the purely commercial enterprise we need to do to keep the buildings open and running. Chris Dunford: And for some areas who cannot afford to visit, then yes, that's an important part of what you do. But there could be areas, community who aren't visiting. And they can afford to visit because for some reason you're not currently for them, you can become for them. And you've also opened up a whole other market as well. So whether you're looking at it because you want more visitors financially, or you're looking at it because you want to be able to reach everyone, you need to ask who's in the city, who isn't here currently visiting and can we find out why they're not visiting? And then we just work through those challenge at a time until you hopefully are truly reflecting those around you. Paul Marden: I was at a Museum and Heritage Show earlier this year. There was a really interesting talk about inclusivity and making places accessible. And one of the key facts was that people that need an accessible place to visit, if they don't know something is accessible because you haven't communicated it properly, they will assume you are not accessible. And so having the changing places toilet and the sensory room is amazing. But you also have to communicate that to people in order for them to come and feel like it is a place for them. And that's. You're right, it's not about the charitable end of the organisation. It can be just a commercial thing. When you tell that story simply and easily for people, all of a sudden you are not going to market. Shaaron Leverment: We're sort of encouraging people. We've got an accessibility conference coming up in May which will be hosted by Winchester. And hopefully between now and then we can really support people with some of these amazing visual stories. Because I think you're absolutely right that you do need to know if it's accessible. You need to know what facilities you need to have those opportunities to know that there's a quiet space and what to expect. And then someone, honestly, if they know what's there and what's not there, then that's enough. Paul Marden: I've talked about this example before podcast, but Skipton Town Hall is an amazing example. They've got a museum whose name escapes me, but they won last year's Kids in Museum's Family Friendly award. But they have an amazing page that talks about their accessibilities with photos and videos where you can see the entrance, every entrance to the building and where that entrance will lead you to. It shows you the changing places toilet. You know, they are making it super easy for you to be able to understand that. And it's on your page, but it's a page that's hugely valuable on their website. Victoria Denoon: I think just beyond what you can do on your own. Site for that. There are organisations you can work with that tell people the story about what attractions in their area are accessible. So making sure you know who those groups are and working with them to get your story out and how you can support that's really important. Paul Marden: I've got Tudor in front of me from Eureka and I know that's something that Eureka has done a lot of is communicating the accessibility of what they deeds the outside world. I'm going to take your Scottish index of multiple deprivation and take that back to the uk. I'm going to talk a little bit about Cambridge Science Centre because they've passed two weeks ago, they've just opened their new building and one of the things that they talked about on the podcast with me was that part of the motivation for locating it on Cambridge Science park was because it is cheap by jail with one of the areas of multiple deprivation within the city. Paul Marden: They run youth groups in that area and what they found was that even though these kids are in a youth group associated with the Science centre and they are right next door to the Science park, those kids don't feel that a career in Science in the UK's hotspot for tech is a place where they could end up. Paul Marden: They just don't feel like it is of them. So how do we help those kids and families in those areas feel like science centres are for them and a career in the future and in science and tech is an opportunity for them? Bryan Snelling: I think when were redesigning the Aberdeen Science Centre, as I said, the only thing that's still there because It's a Category 2 listed building is the outer walls. But what we looked at that time was we said, well, how can we make it relevant to the northeast of Scotland? So we have three zones in the Science Centre which relates to either the up and coming or very much mature economies up there. We have an energy zone, of course we do, but space, you know, Shetland is on our patch, big patch, so is Sutherland and those of you who know Scotland, very big patch. That sort of space is a big part of what's happening up in northeast Scotland, but also life sciences. So we made it relevant so that people on an everyday sort of and kids can sort of relate to things. Bryan Snelling: I think we're the only city and people will help me out here and bring me down to size if that's the case. We have hydrogen buses in Aberdeen. I think we're one of the only, let's go like that. One of the only cities that currently do that and they see these things travelling through the city centre every day. But you know, they want to know more about that. So it's about making it relevant, making it day to day obvious that this, you can work in this because actually it's there or it's that or it's yes. The other thing is about showing the other careers that you can link it, you can focusing on space, but there's more than just that. You somebody said, yes, you also need to have a chef in the Antarctica. Bryan Snelling: So show them the other careers actually link in with this sort of and just make it relevant. Chris Dunford: Yeah, and I think obviously if you've got sections of society where there's young people who feel that science isn't for them, I think the first thing to recognise obviously is that they are in their lives. They're obviously getting messages that are telling them that's the case in the way in which children from other backgrounds are getting messages telling them what science is for them. And you can see that through the lens of the science capital. You can't control all of those, but you can control how you interact with them. Now, obviously what Cambridge did is they were able to physically relocate. Most of us aren't in that position in terms of the whole building, although that reached us the ability to do that on a complete short term basis. Chris Dunford: But I think again it's recognising that inclusion work is so much more than just kind of saying, “Hey, we are free. Why don't you come along today and you can visit for free or whatever.” It's the diversity of your staff and that's across the organisation. Because if they visit and they see someone that looks like them and that tells them that it is for them in a way in which it's going to be very difficult to do with the people actually working there don't look like people they would recognise as being in that kind of group in that way. It's about the activities themselves. So again, the ideas of kind of co development. So if you develop activities, rather than guess what you think they would like, just find out what they would like and involve them in those activities. Chris Dunford: So inclusion is difficult and it takes a lot of time because you can't just kind of put a sign on the door and say work for you now. You need to change the organisation. So it is enabling them to visit and then to keep that relationship going. That's the other thing that's very difficult. But I think if you did one funded visit and they came once and that was it, that might not be Enough to make them go, “Oh, so I can't be a scientist.” You get some kind of relationship with them going on over time. So yeah, it's a long, drawn out process, which means you need to look very hard at yourself and be prepared and brave to make changes in your own organisation. Because unintentionally you are probably putting some of the barriers there yourselves. Shaaron Leverment: I just want to echo that it really is about building those relationships. We ran a program called Explorer Universe across eight centres. And you know, we were all about extra partnerships and being brave and making new engagement to people who would never have thought to come through your doors. And you know, it ended up being like a year long of partnership building and then those relationships and almost all the programs were outreach. Some of them ended up, you know, as a celebratory event coming through the science centre. But it was very much going to where the kids were going to their space, you know, physically and emotionally and mentally, whatever, and working in partnership. So if you don't have the staff that reflect that community, then you can work in partnership and create those moments. Shaaron Leverment: And then when they do come to the centre, be there at the front door to welcome them. You know, I know you and it's very much, you know, like an experience floor In North Wales. Were working in a playground, you know, and talking all about them jumping off the playground with like parachutes, talking about friction and stuff like that. And one of the best quotes from that was like, I didn't realise this was science. You're like turning what they are doing and saying that you are a techie, techie person, you are a sciencey person, you are an engineer. That's what it is. Shaaron Leverment: You know, it's not saying this is what science is, you know, it's changing the capital that they have already into science capital to know that they are already inherent, as Osley said, inherent sort of scientists anyway. Paul Marden: Yes. Shaaron Leverment: So, yeah.Victoria Denoon: I think science centres are in a really wonderful space here to be able to do that because, you know, we do build relationships with community groups and schools all the time. And research has shown that these young people, why they see themselves in relation to their peers, that will attract them more than anything else into potential careers in science. So having a space where people can come and, you know, we don't tell them, don't touch that, don't do that. Victoria Denoon: You know, they can really fully get hands on and engage in things and having that opportunity. We just opened two years ago, our Learning Innovation for Everyone Space. We offer free school programs there, particularly in partnership with Microsoft and do coding workshops and things like that and lots of other activities and you can also do OCN accredited programs with us there. So it's really about getting them together as a group of their peers and showing them what's possible in that space. Paul Marden: That's amazing. So I'm a dev by background. Telling the story of Computer Science is not something that you see in every science centre that you go to. The whole kind of the history of computing, it exists in places, there are pockets of it. But it's not something that I want to coding club as well. But how many of my kids could go to a local science centre and feel that what they're doing when they're coding the robot and building some Lego is related to something that they see when they're at the science centre and that there's a mental leap to go from this fun thing that we're doing with this robot to the career that is amazing that I could have in the future. It's really hard. Paul Marden: Talking of kids, I'm a trustee at Kids in Museum and we talk a lot about getting the voice of young people who visit attractions and young people, they're worthy, they're in their career and incorporating that into the decision making, strategic direction of museums and science centres. I think it's definitely really important when we talk about climate emergency to get that younger voice in so that trustees don't all look like me. Let's talk a little bit about the youth platform and how you incorporate the youth voice into what you guys do. Who wants to take that one first? I can spot who cracks first. Bryan Snelling: Okay. I'm not very good at this, am I? You are very good. No, but I'm actually quite proud of what we do at Aberdeen. We about a year and a bit ago introduced a STEM youth ball and we're very pleased with that. We actually work with a local festival so it's ourselves and Aberdeen Tech Fest that jointly I say support, but actually they support us. The youth board, it's made up of secondary school kids, young people and last year was a pilot year and it went very well. We're now looking at developing it further. But what they do is they look at what they want to do, they work out what they want to do within a board situation. Bryan Snelling: They've got all the usual bits, chair and the secretary, but they work out that they want to deliver this program and then they'll go away, work together on the delivery of that program. They'll also work out the marketing side of things. They'll also do all of that. But I also, and my counterpart with TechFest also bring our ideas and say what do you think about this? And they give us a very. Paul Marden: Take some of them and rubbish a few I guess.Bryan Snelling: That's what it's for. Paul Marden: Exactly. Bryan Snelling: I mean, let's get out of the way in a safe space before we then go ahead and spend money on this thing. Paul Marden: The most brutal focus could possibly bring together. Bryan Snelling: But we're very pleased with that. The other thing that we're currently looking at doing is working with local university, Robert Goldman University, especially the architecture school, to redevelop our outer area, the garden. It was the only area that wasn't developed when we did inside. And we undertook a number of brainstorming sessions with the youngsters and I mean your 5 to 12 year olds to get their input. And we did that a number of ways, remember drawing or talking or writing, whatever. And that was really interesting. We'd obviously, as the adults had done a similar thing but what they brought was a completely different point of view and it's wonderful. Paul Marden: Excellent. Victoria, you can't not look at teacher. It's only going to encourage me to. Victoria Denoon: No, I think you know, to what Bryan was saying there. We haven't started yet but we're looking at this idea of creating a Y suite, you know, which is our youth suite, which would be young people that will come in and kind of meet once a quarter to help us with some of those decisions. Bryan was talking about Inspiring Science Fund. We also did a huge renovation at W5 as a result of that and that involved a lot of consultation with young people, with teachers, et cetera. And we do a lot of youth led programs but we're looking at really how do we engage that in this more strategic direction going forward. Paul Marden: I think it's hugely valuable, isn't it? When you take it from a consultation point to something that is actually helping to drive the strategy of the organisation. It's transformational. Sharoon, do you have any thoughts about that? Shaaron Leverment: Yeah, I mean I sort of see it from a bird's eye view really, you know. But you know we have our Youth Voice Award because last year our volunteers award was won by. Part of our volunteers award was won by Winchester young group of environmental activists that were really doing great things down at Winchester Science Centre and influencing one seekers charity. And anyone who was at dinner last night, you might have seen the video from Zed King who has done so much work supporting Centre for Life and making massive changes there and not just there, like actually across the network. We are. So we've got this Youth Voice award as one of the only awards that we give because it is so important. We are all about. Not all about, but we are a lot about young people. Shaaron Leverment: So they need to have voice but it's very difficult to be sure how to do that and to make sure that we're not putting too much pressure. I mean here at this conference you can. There we've got some young people coming in showing their bio robots. We've got. Obviously we had the Esports award last night and our next keynote we've got two younger panel members to do a discussion about eco anxiety and how that feels for them to influence the way in which we think about our climate engagement from the voices of people who are experiencing it and experiencing this massive grief and anxiety about their own futures. So yeah, there's a lot of work going on obviously over in Armagh as well, you know, especially with autistic families and you know, I think it's. Shaaron Leverment: Yeah, it's a growing area and we're putting a lot of effort into encouraging like hearing these stories and different things and you know, I know we the curated. Well, with your authority sharing, I might just throw that over to you. I mean I think that's a great piece of work. Chris Dunford: Yeah. On the climate side especially. One thing we've done in the past is work with Bristol City Council, Youth Council, I think I might say most councils will have something like this because they then feed into the UK lean Parliament. I think that's really useful for two reasons. Firstly, because it gives them a space when you talk about climate issues. But secondly, it's helping them to understand the process of democracy, which young people's possibly more important now than ever. I think that's really key because I think what often happens, especially at events like cop, is that inside the room you've got the politicians and decision makers who are struggling with this really difficult challenge of how do we decarbonise and knowing there isn't an easy thing to fix it. Chris Dunford: It's going to be a lot of trailblazers, compromise, a lot of hard work outside where you've got the young people kind of screaming desperately do something, finally find the solution and then have these two different worlds. So I think if you could bring those together to bring the youth Voice into those conversations. What are the trade offs? What are the decisions? Because the consequence of decisions they inherit not us. But also it's useful for young people because it helps them understand that there isn't an easy solution and yes, there's going on strike and it's making the message clear, but there's getting into discussion of what are the trade offs, what are the compromises, and that's how a democracy works. I think that's really useful. Chris Dunford: But the other thing I'd say is if you're going to engage with young people on this and also be prepared for the fact that they're clear, they know what they want and they want the allies to take action. So if you say to them, great, there's time to change that, you're creating a youth board so you can learn about climate change, they'll say, yes, but what are you doing to reduce your carbon emissions? So we're doing this group and we're going to get your views on that. Thank you, that's fine. What are you doing to reduce your carbon emissions? So if you're going to enter into this space, they know what they want from us. They want to take action to create deep, radical and rapid decarbonisation. Chris Dunford: So be prepared for that question because they will ask it and it's the right to ask it. We need to do stuff as well as having board. At the same time, you've got to be taking the action to show that you're copying the agency, what they want. Shaaron Leverment: Have you seen the recent DCMS call as well? I mean, it's obviously strategically important at government as well. So all funders and DCMS in particular are making an election in this. So, yeah, leading the way. Paul Marden: A beautiful segue to my next question, which is what, Chris, this one's for you really is what are ASDC members doing ahead of national targets to reach net zero? Chris Dunford: Yeah. So it's probably worth just causing phone. So, in terms of the national target, for anyone who isn't aware, net zero for the UK is 2050. And net zero essentially means that your carbon emissions are down to zero or they're not zero, then you're offsetting what emissions you are creating. So the balance of the atmosphere is 2 0. And it's really hard. And the reason it's really hard, whether you're a government or an organisation, is you're following the greenhouse gas protocol, which means it's across all three scopes, which essentially means it's the stuff you expect. Chris Dunford: So it's the energy from the grid, it's your fuel and vehicles, it's burning gas in your home or places where, but it's also emissions from all the stuff that you buy and the investments from your bank and your pensions and it's the emissions from your business who travel to visit you. It's huge. It's very complex. So it's difficult. That's essentially what it means, the claim in terms of what sciences are doing. So it's a mixed back. There's plenty of science centers who still don't have a specific claim decarbonisation target, whether that be net zero or 2050 or sooner. So that's one issue I think we need to. Those who have done that piece of work have to work those who haven't to support them, enable them and encourage them to create a space where they can do. Chris Dunford: Because your Internet provider probably has a Net Zero pledge on their website, your supermarket certainly does. Your local council will, your university. So with science centres, it might seem strange that we're actually behind those players rather than leaving it. And of those that do have targets, there's probably about seven science centres in the network. This is student, big museum. So in terms of. In terms of the main science centres and then Tampa Gardens and museums, if you include them, there's probably about 11 organisations who have a kind of a decarbonisation net zero net neutral aimed before 2015. They're mostly around 2030. And again, that's really hard. And those organisations are now figuring out what that means and just how difficult that is. Chris Dunford: There is also even project who have boldly gone for a net positive to say they'll actually be removing more carbon than releasing by 2030. But it's really hard. And the reason it's hard for science centres is we're not Marks and Spencers. We can't just hire a stable team overnight and throw money at this problem. So we're renting some organisations who are tight on time and money who now to take on this huge challenge. That doesn't excuse us from the challenge. So there's no easy solution on the fact that we have to put resource into this. And I think that's why there aren't more Net Zero aims on websites for the centres at the moment. But I think we can get there. We need to recognise it's hard. Chris Dunford: And finally, if you are doing lots of engagement, as I said with schools, then again you need to be backing this up with some kind of Net zero. So it's a mixed bag of the network. There's probably about 10 or so that have specific net zero aims and they're mostly around 2030, 2040. But my prediction is in the coming years, those organisations are going to make some really hard choices and actually say how they're going to do that, because we know from experience it's really difficult. But that doesn't mean you shouldn't be doing it. It means you have to push even harder than you were before. Paul Marden: Thank you. Bryan Snelling: Can I add something? Paul Marden: Of course. Bryan Snelling: I think decarbonisation is an important message, full stop, especially in Aberdeen, for obvious reasons. I hope we feel that we have an important duty almost to the visitors to the northeast of Scotland and beyond. Because I think how can we talk the talk about decarbonisation if we don't walk the walk? So there's an internal thing, which notwithstanding how difficult it is, we're just starting down that route. We've had an energy audit done of ourselves. We're now in the process of working out what that roadmap is, or maybe it should be a cycle path road towards net zero, but we need to work that out. But on the other side, we're also tasked with telling people, this is what you should be doing. This is the energy transition. Bryan Snelling: This is how you renewable energy in the future. So how can you do both? How can you do one without the other one? I mean, and I think we just need to be aware of that. And I think as the future goes back to the very first question about what's happening in the future, that's all big part of what we need to be looking at.Paul Marden: Conference is all about shaping future science together. What's your take home message from the different talks that you've been to, or possibly because we've not finished the conference yet that you're looking forward to. What's the standout moment? I know. So I would say for me, the standout moment was last night's awards. I mean, if you weren't overtaken by Zed's video, if you weren't moved by Hamish talking about. And for me, what they both demonstrated is that volunteering and engagement is a conversation. It's a two way street, isn't it? Because they weren't just there as a resource doing things, they were getting something from the relationship and giving back to the sense, etc. At the same time. For me, that bit was the most powerful. Shaaron Leverment: Yeah. And I think actually, you know, there's a lot of emotion there, you know, and it's incredible to someone stand up and say science and you saved my life. Paul Marden: Yes. Shaaron Leverment: You know, I think it was just incredible and very brave. And I think that kind of bringing that emotion into science, it's really important and remembering the people, even people. I think there's been quite a few messages about, you know, the safe spaces that we provide and that interaction with people and that genuine understanding. I think I'm really excited about. We're no longer sort of let science speak for itself and we're not going. Shaaron Leverment: You know, I think people are socially connecting and using emotion a lot more because first we feel right, first we feel and that is what our inclusive outcomes are all about. That it's what makes a difference for someone who is disengaged and doesn't feel that science and technology could be for them to feeling that maybe there's a place they need to feel they belong. So I'm really excited about that aspect of it. I also agree with everything that the elders are about. Bryan Snelling: Really. Shaaron Leverment: Yeah. Chris Dunford: I think several things yesterday for me resonated with the thing which Stephen Breslin said at the very start, which is that we come to these conferences anxious and slightly overwhelmed by the challenges we're facing and leaves feeling energized and positive with at least some of the solutions. And I think that's. That's a similar pattern that I experienced with these conferences. And I think through that lens I've been listening to all the challenges yesterday. And it's just our job is hard and potentially getting harder and as it gets harder, it's more important to society than ever. And I think that's the main thing I'm taking away. Chris Dunford: And I don't just mean things like the inclusion work and the decarbonisation work which we've spoken about during this session, but even things like one of the sessions that really stuck me yesterday was where the Science museum were talking in the lightning talks about their new AI exhibition and the fact that when all the many centers open they could have exhibits that explained Google of motion by pendulums and spinning things. A physical thing. And now we're having to have conversations about AI where there is no physical thing you can hold in your hands. Chris Dunford: There's a historical artefact, it's a circuit board doesn't tell you anything about what circuit board really does in terms of how it impacts society and how are we going to do science communication, science engagement around these challenging issues like AI which are then mounted up with all these kind of social problems with them, which again, the laws of motion that we come with. So, so I suppose I'm going away with that is the fact that our creativity is going to be tested more than before and our ingenuity and our ability to collaborate beyond our initial partners. So, yeah, for me, weirdly, it's about the science communication side and things like AI are going to make that really challenging. And how are we going to do that? Any of the answers other than the fact that we know we're not doing it alone, we're doing it as a network. And that's obviously big talk. Victoria Denoon: Yeah, I think it's the same thing. That remark by Stephen really is something that stuck with me because I did come here as well, thinking about the challenges we're facing, not just as a Science and Discovery centre, but also politically at the moment and just how pessimistic you can be about things. And really being in this conference with all of these amazing people makes you feel more optimistic about things and I think that's just really powerful and it carries you through. So for me, that's. And I think some of the conversations that have been happening here, I feel like since last year we've made a huge jump in terms of where the impact of our network is going with other people. And, you know, Tom's talk this morning really brought that home a little bit as well. So I'm feeling very optimistic. Paul Marden: Thank you. We always end our interviews with a book recommendation, which can be personal or professional. So, Victoria, do you want to share yours with everyone? Victoria Denoon: Well, I think when were talking about this, it was like, what's your favourite book? And for me, my favourite book is actually Pride and Prejudice. It's a book I would read over and could read over and over again. Jane Austen's musings. Paul Marden: Excellent. Bryan. Bryan Snelling: You know, this is the most difficult question that you're going to be putting to us. I've read, you know, fiction most of my life. I mean, you can't. I've always got a book, always looking at a book. So I don't actually have favourites. Why is it favourites? What I can say is my most recent book that I've read was the Thursday we're at the Club by Rich Lawson, which is quite nice. The most profound one was actually 1984. I read that when I was about 18 and I thought, wow. And that was really quite interesting. Followed swiftly by Animal Farm, of course. Paul Marden: So that's three recommendations bankrupt me over. Chris. Chris Dunford: So I've gone for War of the Worlds by H.G. Wells. I'm a big fan of, like, old sci fi books. It's different to modern sci fi. Sci fi books like Jules Byrne and H.G. Wells will just ramble on pages about scientific theories at the time. Things they read in nature. So it's genuinely kind of science fiction. But War of the Royals because it's just. It scares me every time I read it. Like it still scares me. Absolutely. And I quite enjoy that. And I don't know why. And there's something about the complete, you know, civilisation. Actually some shouldn't put on this thread too hard, but there's something fascinating about that. Kind of, as he describes it, the liquefaction of society is everything kind of falls apart and every time I pick it up, I'm terrified and I pick it up again, I'm still terrible. Paul Marden: Shaaron, lastly, yours. Shaaron Leverment: I had forgotten this is a question. Paul Marden: Chris had three books, so you can choose. Shaaron Leverment: I'll go for in my. In my head I go for I just off the cup. The Martian is great. When it's got a little bit tiresome with the whole potatoes, improve it. But it is a brilliant. Yeah, it's great. Paul Marden: We are done. If you enjoyed today's episode, please like and subscribe on Apple Podcasts or Spotify. Thank you to my guests Victoria, Bryan, Chris and Shaaron, and my amazing ASDC Live studio audience. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, SkiptheQueue.fm. The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Denis Hirson's My Thirty Minute Bar Mitzvah can be read as many different books. It can be read as a new, deeply personal, take on a pivotal episode in the history of South Africa. It can be read as a tender reflection on the mind of the author as he teetered on the cusp of adulthood. It can be read as a portrait of one particular wing of the Jewish diaspora, at one very particular moment in time. And it can be read as an account of how trauma is passed from one generation to the next, but also how with every new generation we are offered the opportunity of recovery…if only we will grasp it.My Thirty Minute Bar Mitzvah focuses primarily on the life of the author in the early 1960s, when he was between the age of nine and thirteen, and when the politics of his homeland was in turmoil after the brutal Sharpeville Massacre, carried out by the apartheid regime. Indeed, it's these very politics that are going to impose themselves in a real and immediate fashion on the author's world, not only shattering his idea of family, of community, of home, but also setting his life on a course that will ultimately see him pitch up in Paris.Buy My Thirty Minute Bar Mitzvah: https://www.shakespeareandcompany.com/books/my-thirty-minute-bar-mitzvah*Denis Hirson has lived in France since 1975, yet has remained true to the title of one of his prose poems, ‘The long-distance South African'. Most of his nine books, both poetry and prose, are concerned with the memory of the apartheid years in South Africa. Two of his previous titles, The House Next Door to Africa and I Remember King Kong (the Boxer) were South African bestsellers. His most recent books are Ma langue au chat, sub-titled ‘tortures and delights of an English-speaker in Paris', and a book of conversations with William Kentridge, Footnotes for the Panther.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Simon Sansome was born, raised and continues to live in England. He had what he considers a normal childhood except for the fact that he did have and has today dyslexia. As he describes it, reading even to day some forty-two years after he came on the scene, is extremely difficult for him. He does, however, write well. He will tell us about his growing up, going to a British college, then joining the workforce and eventually going to a university. Yes, college as he will tell us is different from university.   In 2014 he was struck with a slipped disc. Unfortunately, the chiropractor who then attempted to fix the problem only made matters much worse and Simon became paralyzed from the waist down. Simon determined to move forward and went back to the university where he graduated in 2018 with a degree in journalism.   Along the way Simon created a Facebook page and a community called “Snowball Community”. As the community evolved Simon and later others began posting information about accessible places first in England and then elsewhere as well. Today Snowball has received countless awards for all it is doing to promote accessibility and Simon tells us that they expect to have over a Million viewers on a regular basis. Snowball Community will soon be providing opportunities for restaurants, shops and other places to obtain in-person accessibility assessments and the ratings from those assessments will be available to promote the businesses that are evaluated.   Simon by any standard is unstoppable and inspiring. I trust that you will agree.       About the Guest:   Simon sustained a life changing injury when he was 32 which left him disabled from the waist down. It forced him to take early retirement and he decided to go to DMU to study Journalism and pursue his passion for writing.   In 2016, while at DMU, Simon set up a Facebook Snowball Community with the idea of raising awareness of, and improving, disabled access. His award-winning campaign has had a global impact and the page now reaches more than 20 million people a month.    Simon is also an award winning film/documentary producer after his life story was brought by Amazon Prime and his film ‘Access All Areas' won 16 international film awards including best film.    Simon is also founder of Snowball Community a global disability app where you can leave reviews on how accessible a place is. Which is available on Android and Apple devices. The app has had 40,000 reviews in 12 months making it the biggest disability app in the world helping thousands of people daily.    Simon has won a number of major awards he is widely considered to be one of the most influential disabled people in the UK.   He was named in the top ten of the most influential people in the UK 2023 and this yeas won the Digital and Tech award at the Disability Power 100 and won the prestigious Santander X national award and will represent the UK at the Santander Global awards 2024.   Ways to connect with Simon:   https://www.facebook.com/FreezeSnowball   https://twitter.com/FreezemySnowbal   https://www.instagram.com/freezesnowball?igsh=MTl5ZHMxb3FvdzV1dA%3D%3D&utm_source=qr   https://www.tiktok.com/@snowball.community?_t=8jKD9oRZmPw&_r=1       About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/   https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi there. This is your host, Mike Hingson, and you are listening to unstoppable mindset where inclusion, diversity and the unexpected meet. I love to say that every so often, but here we are once again, and now we are talking with Simon Sansome, who is over in England. So it is about 736 in the evening there, and it's 1136 where I am. So Simon, welcome to unstoppable mindset. Simon is a he's going to talk about snowball and I don't want to give that away. He also is a person with a disability. So again, welcome to unstoppable mindset. Thank you very much. It's   Simon Sansome ** 02:01 a pleasure to be here.   Michael Hingson ** 02:02 Now I am curious about something that just popped into my head. Do you all have daylight savings time over there that takes effect at some point? Yes, we   Simon Sansome ** 02:10 do. Yes.   Michael Hingson ** 02:12 When will that start?   Simon Sansome ** 02:13 No idea whatsoever. It just pops up on my iPhone and changes itself   02:17 these days. Yeah. Yeah. I   Simon Sansome ** 02:22 mean, best thing from working at home doesn't really affect me. Yeah, well, it's not like I lose an hour or gain an hour because I just stay in bed or get up, you know, get it when, when I need to. So, yeah,   Michael Hingson ** 02:33 now I'm just really curious. I'm gonna look at my calendar. I think,   02:39 I think it's April.   Michael Hingson ** 02:40 Is it all the way to April? Yeah, with Okay, over there, it's April. Well, here Daylight Savings Time begins. Oops, I'm sorry. Daylight Saving Time begins next Sunday. So you can tell we're recording this in advance of when it's going to actually go up everyone but daylight savings time here in the US, begins on March 10 so time Time flies. However, when you're having fun, I guess   Simon Sansome ** 03:13 there is a rumor over here that Daylight Savings Time was actually created by Benjamin Franklin so we could play golf in Scotland. Is that what it was, apparently so, but obviously we've got nothing to verify that, but that's the rumor. Well,   Michael Hingson ** 03:26 yeah, but it didn't get implemented all that soon. But you know, on the other hand, um, Benjamin Franklin is also one of the main characters in the new James Potter series, the outgrowth of the Harry Potter books. Oh, I didn't know that, because he is the Chancellor of Alma alaran, which is the American or US School of magic. So he's been around a while. This guy, Franklin, he's done a lot of stuff. But anyway, nevertheless, welcome to unstoppable mindset, and we're really glad that you're here. Why don't you start by telling us kind of about the early Simon growing up and some of those things. Yeah,   Simon Sansome ** 04:06 of course, I grew up in a village called burst in Leicestershire, that for most people, nobody knows where Leicestershire is. Everyone thinks of Nottingham when they think of Les share because it's the cloak, because of Robin Hood. So Nottingham Sherwood Forest is about 40 miles north of Lacher. However, we have become more famous over the recent years. We won the premiership in 2016 in Leicester City, which went was was a fantastic thing for the city. And then Richard the Third interesting fact, it was found under my car parking space. Dickie three. I was working for social services at the time, and Dickie three under my car parking space. So that was fun, I know, but no grew up in a normal house, Mum, three sisters, went to school, was dyslexic, wasn't diagnosed. I did terribly at school, great at cricket, loved the sport, played a bit of rugby and. And, yeah, just, I suppose really, you know, I worked. I worked all the like, Saturday jobs, and worked in a fruit and veg shop from the age of 14 to 16, getting up at four, four o'clock in the morning, going to work for a few hours, then going to school, falling asleep at school before Yeah, and then going to close the shop up at night. And I did that for one pound 25 an hour, which was, you know, child slave labor, yeah? So really, your average childhood, nothing really exciting going on there.   Michael Hingson ** 05:33 So did you ever go to Sherwood Forest?   Simon Sansome ** 05:35 Many times it's a nice walk. Yeah, is it we go on a regular basis due to the fact that it's you can hire a they're called trampers over here. It's a big mobility scooter, and so you can go around Sherwood Forest in the mobility scooter. So we'll get there quite a lot, because it's a nice outing. What   Michael Hingson ** 05:52 kind of trees?   Simon Sansome ** 05:55 Big oak, okay, big ones, yeah, willows, oaks and lots more. You know, it's a forest.   Michael Hingson ** 06:02 How big is? How big is the forest?   Simon Sansome ** 06:04 Absolutely no idea whatsoever. It's big. It's a forest. Yeah, you know, it's a good few miles across, a few, good few miles wide. You're going to get lost in it, if you if there wasn't a path, yeah, yeah. Well,   Michael Hingson ** 06:19 and it's nice that after all these years and all the reputation that it has, and Robin Hood hiding in it and living there, and all that, that it really does still stand and people honor it, which is cool. Yeah,   Simon Sansome ** 06:31 I the best thing about Robin Hood, Prince of Thieves, if you've seen it, he arrives in Dover on by sea, and then by night, he's walked to Nottingham, which is about 250 miles, he's fast,   Michael Hingson ** 06:47 and when you got to go after the sheriff, you know, you, you've got a mission, you got to do it,   Simon Sansome ** 06:51 yeah? So fat place Walker, him and him and Morgan Freeman,   Michael Hingson ** 06:57 well, my favorite movie is actually a slightly different one. It's called Robin in the seven hoods. Have you ever seen it is,   Simon Sansome ** 07:04 is that the, I don't know if, no, I'm thinking of Robin Hood, many types. Yeah,   Michael Hingson ** 07:09 Robin and the seven hoods, stars, well, the Rat Pack, basically. Okay, and so Bing, Crosby is no Frank Sinatra is Robbo. It takes place on the in Chicago during the gang times. So Frank Sinatra is Robbo. Dean Martin is John, or Little John. Bing Crosby was Friar, tuck and other people. Peter Falk was Guy Gisborne. Okay, you know, so they had all the characters. It was, it was really a cute movie. I've always loved to watch that movie. It's a lot of fun. So, and needless to say, it was a comedy and, and at the end, most everybody ends up behind, you know, in concrete. It in behind a wall, except for Friar Tuck who gets the girl? Fair enough. I think Robbo doesn't get walled up either, but it's a fun movie. But anyway, no Sherwood Forest. It's all on the south side of Chicago, okay. But anyway, so did you go to college? I   Simon Sansome ** 08:16 went to college and dropped out and then moved when? Because I just didn't get along college. Well, the thing is, because I had undiagnosed, I was undiagnosed dyslexic, yeah, in the like, you know, 80s and 90s, it wasn't really recognized as a thing, no. So I really couldn't really write until I was 1516, so I didn't go to what you would I went to a college. But the college isn't what colleges in America, or secondary rather than higher education. So we go, we go primary school, high school, college, university, okay? And so I went to, I went to Leicester college to did, what did I do there? It was film, I think, yeah, for about a year, dropped out and then got a job in Scotland, and moved Scotland just on a whim and became a training manager in a hotel. And the idea was, is I wasn't going to be rich, I but I thought, if I could be a waiter, if I can be a barman, if I can be the head of the departments in a hotel in the catering industry, then I've got a job for life. Yeah. So I've got a backup plan. So because once you've worked in a bar, in a restaurant, or you've been a chambermaid, which I've done, or kitchen shoe chef, or whatever, you know, you can pretty much walk into any job anywhere, and just, you know, you're always going to have a job if you need to, you can find things. Yeah, yes, absolutely. And that was the plan, because I didn't have an education behind   Michael Hingson ** 09:39 me. And then, and I'm amazed at the number of people, and I shouldn't be, because I understand the history who happened to have dyslexia or who were on, what we would say now is on the autism spectrum, who were never diagnosed. I've talked to a number of people here on on stop. Mindset who talked about the fact that they were autistic and didn't even know it until they were in their 30s or even 40s, and it was very freeing to figure it out, because they knew they were different, but they didn't understand what what was really going on with them, and then in the last 15 or 20 years, they finally got enough of a diagnosis, a lot of information. So they, oftentimes, they figured it out even before the medical profession did.   Simon Sansome ** 10:37 Yeah, same thing that happened with me. It was late diagnosis, yeah. So, so after Scotland, I moved back down to moving with my sister to help her out, because she had a child, and she was struggling. She was single mother. And so I got a job working at British Gas in Leicester, which is in the call center, and I got and after a painstaking working a nine to five job in a call center, thought, I don't want to do this for the rest of my life. Yeah. So I returned to education. And I returned to Loughborough College, which is up the road, and my then teacher, my sociology teacher, after handing in my first assignment as a mature student, she went, right, you're dyslexic, have an assessment. And that's when it really Yeah, and that's when it changed. That's when everything changed for me.   Michael Hingson ** 11:28 So what changed and why did it? Well, I can understand why, after the diagnosis,   Simon Sansome ** 11:33 I got the support I needed, that I didn't that I didn't realize myself, that I needed so kind of support, extra reading lessons, extra tuition, how to read and write, how to spell, very patient teachers, and a lot more encouragement as well from the college, which then helped me go on to university as well. So yeah, so   Michael Hingson ** 11:57 your your teachers helped you teach your brain to connect and be able to eventually really recognize, yes, so   Simon Sansome ** 12:07 I learned very visually. I can't really read. Can't really read very well. However, I'm an excellent writer, which is ironic. And I was writing everything and everything because I enjoyed writing so much. But I couldn't read software. I couldn't read out loud. And if I would read, sit there and reading your book, I would have, I call them brain farts, but their memory lapses or something, where you can read a whole page, or three or four pages of a book, and you can read it absolutely fine, but I've got no idea what's happened in those three pages, the information just doesn't   Michael Hingson ** 12:42 stay there. Yeah, the disconnect is still pretty strong. Yes, very much. So,   Simon Sansome ** 12:47 so I learn visually. So I was, I mean, back in the day, I was a huge film fan, and that explains the reason why. Yeah,   Michael Hingson ** 12:53 but, but you could write so you could, you could communicate. And whether, whether you, I assume, probably more often than not you, you wrote via a keyboard. Yep,   Simon Sansome ** 13:05 very much. So I also used the dragon talk back in the day, yeah,   Michael Hingson ** 13:09 but you don't. How did you do with like, writing with a pen or a pencil? No, I Yeah, no, I can do that quite well. You can do that quite well as well. Yeah, yeah.   Simon Sansome ** 13:18 I kept my journal as well. I kept a diary, yeah, just because it helped me to write. So   Michael Hingson ** 13:24 do you still use Dragon? No,   Simon Sansome ** 13:27 no, God, no. It's atrocious. I don't I haven't used it for about 15 years, so I don't know where it is now. Oh   Michael Hingson ** 13:34 gosh, it it is incredibly much better than it used to be when it was dragon. Dictate. Now it's Dragon Naturally Speaking, I use it a lot, and when I discover it has mispronounced, I can read or not mispronounce, but misrecognized or misinterpreted, I can correct it, and it doesn't take much in the way of corrections. But Dragon is so much better than it used to be. Yes, I use Dragon Professional and and I do type a lot and compose a lot, but I also find when I'm doing something that takes a while to do because it's long, it's much better to use Dragon to do it.   Simon Sansome ** 14:18 Yes, No, I never really got along with Dragon. I used it, but a big fan of it. But however, the dictation on my Mac and my phone is absolutely perfect for me. We'll come to it shortly. But I'm a journalist as well now, and so I can write a story within 10 minutes, 500 or 1000 words within a few minutes. It's great, and   Michael Hingson ** 14:40 you would find that that Dragon has that same level of accuracy, because I think a lot of the algorithms went from Dragon to other technologies, or the other way around. But Dragon is really great today.   14:55 Yeah,   Michael Hingson ** 14:56 so, you know, I can't, I can't complain a lot about Dragon. And it really does help a great deal. It's a whole lot cheaper than it used to be, but that's another story. You know, of course, the original Kurzweil Reading Machine for the blind that read print out loud by being able to look at a page and recognize the characters. The original Ray Kurzweil machine was $50,000 and now you get free OCR on an iPhone or an Android device or or very inexpensive anyway, and optical character recognition is a common place kind of thing anyway. So yes, lot different than it used to be. The world does progress and move forward. It certainly does so you did eventually go to university. What did you do there?   Simon Sansome ** 15:41 Yeah, so the first time I went to university. So I went twice, I did criminology. Oh, wow. Because I was enjoying writing so much, I thought I'd like to be a crime writer. What a waste of the time. If you want to learn about crime, you don't go and do you don't go and do criminology at university. So because it was so boring and so dull, I dropped out after the second year again. I mean, I was doing okay. I was getting about 50s, you know, so, two, two ish at university, but I really wasn't enjoying it, and I wasn't putting any effort into it. And so, yeah, I dropped out and looked for a job and went to work for the council. So   Michael Hingson ** 16:27 the council being so,   Simon Sansome ** 16:29 I worked for the local authority. Left City Council. Okay, yeah, the city council. Okay, great, okay, yes. So I,   Michael Hingson ** 16:36 I that was different. It was,   Simon Sansome ** 16:39 it was, it was very interesting, because I wasn't enjoying university, that was the thing, and so   Michael Hingson ** 16:46 and so you decided to leave criminology at the university and go look at the criminals of the council, right?   Simon Sansome ** 16:51 Pretty much. Yeah, I started off in housing. I worked as a housing assistant for a couple of years, working up there, and then, after a number of years getting a bit of experience under about doing some volunteering for youth services, um, I moved on to social services. And I was there till I left the council. And that was, that was an education. I did that for about eight years. And so, yeah, that and nothing prepares you for working for social services, going to see people intimate house you know, into their homes, their immediate environments, how people live, the poverty, the destruction, the drugs, the deaths you know, every you know, everyone's everyday life that you take for granted. And it certainly was an eye opening experience and a very worthwhile life education,   Michael Hingson ** 17:43 yeah, at the same Yeah, it is a great education at the same time, when you do it and you care, you are also hopefully able to help people and make a difference, even if it's with one life that   Simon Sansome ** 17:56 was the intention. So our specializing in adult mental health and physical disabilities by the time I left, and what you see every day is you try and get some positives from it, because you are saving lives and you're trying to make people safe, and that's your job. And at the end of the day, you get people who just don't care and just want to die and kill themselves. And yeah, it's people dying on you every day, especially if you come to the hospitals, that's interesting. I didn't I got transferred to one of the hospitals here in Leicestershire and but even before I had a case or went to see went to see a patient, to get them discharged from hospital, I had like, nine deaths on my table, wow. And so I got transferred back, just in case I thought I was killing people, even I hadn't seen anyone.   Michael Hingson ** 18:46 So did, do you think you ever really did make a positive difference to any of those people who were really losing hope, or who had lost hope? Were you? Were you able to help?   Simon Sansome ** 18:55 I mean, the thing is, is because you're the first point of call, so I was on effectively, emergency call outs. So you go and make sure that person is safe, you make sure they've got food, make sure they're okay, and then you pass it on to a long term team. So mine was the emergency intermediary department, like working with the police, ambulance service, firemen and so on and so forth. We would do joint visits. And so I really never got to see the long term effects. I was there to put the plan in place and then let a longer term, longer team, manage that person and the cash plan, or whatever was needed. So well,   Michael Hingson ** 19:31 it's a it is a process, no doubt. So when did, when did you leave the council? What year was that   Simon Sansome ** 19:39 that was? When was that that was 2015   Michael Hingson ** 19:42 Oh, okay, well, yeah. And then what did you go do? Because at some point after that, your life changed.   Simon Sansome ** 19:48 My life changed. So it actually changed while I was working for the council. Um, so I became disabled in 2014 um. So I we're not 100% sure how the injury happened. I'll explain. So I was doing Ruby training at Victoria Park during that week, and I we also had a ton of bark delivered to our driveway because our driveway needed doing. And so I have this I slipped a disc, and I don't know if it's from the or it's from playing with me that I don't know, or rugby training anyway, not from cricket, not from Cricket. No, I have played cricket for a while, since then I played it as   Michael Hingson ** 20:30 a lad. Cricket is very slow. Oh, cricket's amazing   Simon Sansome ** 20:34 you. It's more technical than baseball. Yeah,   Michael Hingson ** 20:37 I know. I understand. I When I visited New Zealand and listened to some cricket on the radio, and it was really hard to follow because it it generally does move pretty slow, so I know it's very technical, and I never really caught on to the rules. I did figure out rugby a lot more than than I was able to figure out rugby   Simon Sansome ** 20:58 is 80 minutes. I mean, cricket lasts for five days. It's beautiful. Yeah, I   Michael Hingson ** 21:02 understand, but you have to take the time to really learn the rules. And I didn't have enough time to really listen to the radio, I guess   Simon Sansome ** 21:11 that's right. Anyway, yeah, so I had a slip disc. I've had a slip disc before, and normally I would take some ibuprofen, do my exercises, try and pop it back in. On this occasion, me and Kate, my new wife, we were going away on a honeymoon to Mexico, and so I went to see a chiropractor in the local area. And it was doing well, you know, I was getting better. I was exercising. What I was walking further. It was had I took a few weeks off work because it was really very uncomfortable, and couldn't really visit people in their homes when I'm really uncomfortable. However, on the fifth or sixth visit, this newly trained chiropractor decided she was going to have a go at putting the disc back in for my honeymoon, and she crushed levels three, four and five of my spine while doing that, and that hurt. I screamed. I didn't know what she did. I thought she slipped. I thought she she could. She warned me it was going to hurt, yeah, and it did. It really did okay. And I after I couldn't get my shoes on, so she was on. So she helped me get my shoes on, and effectively, she just threw me out after I screamed. I think she knew something that had gone wrong. I didn't know at the time. I just thought she put my disc back in because I was in so much pain. I collapsed outside where Kate was waiting for me in the car. And I went home and said, Look, I'm just going to go to bed. I'll sleep it off. And the following morning, I woke up, I thought I had a stroke because I had no sensation from the waist down. Yeah,   Michael Hingson ** 22:50 yeah. My wife was a t3 para, so it was basically from the bottom of the breast down. But I understand exactly what you're saying,   Simon Sansome ** 22:59 yeah. So it was a very unusual situation. I didn't know what to do. Kate had gone to work that morning. We lived in a cul de sac, a dead end road for you and me.   Michael Hingson ** 23:10 Nope, no cul de sacs. Very well, that's okay,   Simon Sansome ** 23:14 okay, that's fine. I wasn't too sure on the terminology for the American audience.   Michael Hingson ** 23:18 It's it's a term over here, too cool,   Simon Sansome ** 23:21 excellent. And so I was shouting for assistance. There's nobody there. I didn't have my phone on me. Phone was downstairs, and so I threw myself out of bed, did an army crawl, threw myself down the stairs, but naked, and I don't really remember a lot after that. I don't mean apparently my mom came round. Apparently, the ambulance came round. But I you know, but I don't remember a lot what happened. I really don't. What I know is, when I was taken to hospital, I had an MRI. Don't remember the MRI at all. Obviously, I'm under painkillers at this time, and there's a lot going on, and I'm in shock because I'm paralyzed from the waist down. And yeah, they they did an MRI. The emergency doctor said it was cordial. Quite a syndrome. Cordiaquinas syndrome is fully recoverable if you get an operation within 2448 hours. However, for whatever reason, and we still don't know the answer to this, the consultant overall, the A and E doctor, and said, It's not cordial Corona syndrome, and they put me on the ward for three months not knowing what to do with me, because they didn't know what was wrong with me. And by the time the by that time, the damage had been doing. Needed to do it within a 48 hour window to stop any permanent damage. But no, they left me there, and I was unfortunately left there to rot for three months. The damage had been done, and then I was paralyzed from the waist down for forever. I still, you know, I'm a wheelchair, full time wheelchair user. Now I. Yeah,   Michael Hingson ** 25:00 yeah. By then it was irreversible and there was nothing you could do. Yeah,   Simon Sansome ** 25:04 very much. So,   Michael Hingson ** 25:06 so as a paraplegics, can you? Can you now? Well, I've summoned that. You then went through some sort of physical therapy and strengthening and so on. Yeah,   Simon Sansome ** 25:17 absolutely. So I went through physio for a while. I mean, some of it has come back. Some of it did come back for a while. They said you probably going to get better for a while, but then it's going to deteriorate again. So the point where the first, after a year, I could walk, you know, 200 meters, maybe, with a walking stick and a frame. So I was getting out, you know, I could walk slightly. I could, you know, so that wasn't too bad, okay, however, then I got a drop foot, so that went so I couldn't really walk anywhere, because I got no balance. And then the other Association went to my legs, so I got to a point where I could walk slightly, a little, and then it started disappearing over the years. It's been 10 years now. So now I've while I've got about, in my right leg, I'd say about, ooh, 10% sensation. But my drop foot, there's nothing at all. Can't feel it, so you can drop it off, I wouldn't notice. And in my left leg, I've probably got about 10% usage. So I can move my legs, I just can't feel anything, and then my bowels and bladder have gone as well. So I've got a self catchpherized and stuff as well.   Michael Hingson ** 26:25 Yeah, which? Which my wife always had to do. She was born with scar tissue on her spinal cord, so she's always been that way. We always been apparent. So obviously huge difference in your lifestyle going forward. And how did you cope with all that? What did you do? What did you decide to do? Because you strike me as a person who isn't going to let a lot row of grass grow under your feet, as it were. Well, I   Simon Sansome ** 26:55 mean, we didn't know. Wow, this is the thing. We were stuck because I couldn't work, okay? And work made me take ill health retirement. They didn't want me back at work. Even though I didn't want to do that, I was forced to take ill health retirement at 32 we me and Kate. This is where me and Kate were very sensible. Is because Kate was earning a good wage, I was earning a good wage, and we brought the house. That was in case any of any of us lost our jobs, we could still afford the mortgage and the bills. Okay, wouldn't leave us with a lot of money, but we could just, we wouldn't lose the house, right? So if we, if we brought a huge because we had a nice three bed, semi detached, it was a really nice house, but it we could have Afford a House shovel the size, but if we did that, we'd be really stretching ourselves. So because we were sensible. That gave me the option to go and we needed to cover the mortgage effectively, because the bills were the bills and the mortgage were effectively case wage, and so we didn't have really any money to live on. You know, we're talking about 2030, pound a week after all, the bills will come out and the mortgage. So I decided that I was going to return to university to retrain, um, after pretty much the day afterwards. Uh, let's let city council told me how to take ill health retirement, and I applied to university to check do a journalism because I enjoyed   Michael Hingson ** 28:14 writing. Did the health retirement then give you some income,   Simon Sansome ** 28:18 very little. It was 134 pound a month. And it still is about, I think it's going to be up to inflation, like 150 pound a month. I get it after life, not much. Yeah, absolutely. Because, you know, I was 32 there's no money in the park for the ill health retirement, yeah. But what would happen is, is it would give us time to sort things out, and the student loan would cover any food bills, or, you know, anything we needed for that for three years. So it gives us a little leeway. So it gives us a little bit of an income. It takes the pressure off Kate and so I returned to university to train as a journalist, and that's again where everything starts to change again. So,   Michael Hingson ** 29:04 but you could write, so there you go, yeah,   Simon Sansome ** 29:07 um, couldn't spell. It still can't spell, but I could tell a story, yeah, so I can get it checked by Kate or my mom or whoever. So, yeah, it's, it was interesting. So yeah, I got accepted. And I was twice the age of everyone else there, which was a little bit embarrassing, but I didn't really care. I was more mates with I'm still in contact with them. Actually, I'm still, and this is like 2000 what, 15 until 18 I graduated. Yeah, I'm still in contact on Facebook and stuff with all my lecturers, not the people I went to university with, because, yeah, but all lecturers I'm still in contact with.   Michael Hingson ** 29:46 So, you know, I want to come back and continue the story, but now I'm a little bit curious. Given the way things work over here, a lot of times, somebody clearly made them a. Stake in terms of dealing with your diagnosis and so on. Did you ever think about any kind of litigation or going after them legally and looking for funds that way, or anything like that?   Simon Sansome ** 30:11 We had to. Never sued anyone in my life. Never wanted to. Yeah, but we're getting to the point where I you know, wheelchairs are expensive. Equipment's getting expensive. Mobility scooters are expensive. We need an adapted vehicle, brooches, medication. We need carers. We need, you know, personal help with personal care, adding confidence power, which was really expensive, and so we didn't realize at the time how expensive having a disability was. So we got to the point where we had to take legal action. And we saw a lawyer, we got recommended one, and after five years, they settled. They didn't go, he didn't go to court. And so that was put in a trust for my protection. Yeah, yeah, because I am going to deteriorate later in life, and the cost of that is going to be extortionate, so that is well protected. So yeah,   Michael Hingson ** 31:16 yeah, it's unfortunate you have to do that sometimes my involvement in litigation was that I was thrown off of an airplane because of my guide dog, and we, we sued, we eventually settled years ago. Was back in the early 1980s it's an education to go through the process, and it did go to court. There was eventually a settlement. But it was even really hard to get a good jury, because some of the original people who were potential jurors worked for airlines, or new people who worked for airlines, and so they said they'd be prejudiced, and it didn't matter that a blind person with a guide dog was ejected from an airplane simply because of the dog. Yeah, of course, today that that couldn't happen, well, it could happen, but it would. It can. He   Simon Sansome ** 32:10 still does. It does. It   Michael Hingson ** 32:11 does and but the laws are, are more substantive, but even so, it lawsuits are, are really not an easy thing at all, and there's a lot of emotion that goes into it, and there's a lot that one has to decide they want to put up with. And you don't really know a lot about that until you're in the middle of it, unless somebody really sits you down and describes this is what's going to happen. I had a little bit of that, but I know how difficult it is to do people have told me I should sue the hospital that put me in an incubator when I was born prematurely, simply because that could cause blindness. And other people have actually sued successfully 20 and 30 years after they were born, they litigated, and I just felt, look, medical science had already started to be told that a pure oxygen environment could lead to what at that time was called retrolateral fibroplasia, which is now retinopathy or prematurity. But I think 2030, and 40 years later, suing doesn't accomplish anything and and so my parents and I talked about it a lot, and we all agreed that that doesn't make any sense to do, and we didn't, and I have no regrets about that, but your situation is significantly different than that. Yeah,   Simon Sansome ** 33:44 we had to move house. We had to double our mortgage. We couldn't stay in the house we were in at the time. And yeah, it was, it was a painful experience. So yeah, we needed, we needed an adaptive property at the end of the day, and we simply couldn't afford one. So you found   Michael Hingson ** 34:03 one, or did you build one? Or so   Simon Sansome ** 34:07 we couldn't find one. We actually brought one off plan, but we had to double our mortgage to do it. Yeah, that was interesting. So that wasn't pleasant, pleasurable at all, but we managed it. So   Michael Hingson ** 34:20 we had instances where we built a house from scratch. First one was a manufactured home, and then we we moved to New Jersey in 1996 and we built a house there because we couldn't find a house that we could relatively easily modify. And if you modify a home, the cost is so expensive because you've got to redo doors, you've got to redo counters, you've got to redo a lot of things. That's assuming you can find one that doesn't have too many stairs for a person in a chair, and that you can can ramp those but. If you build a home, there's really no additional cost other than the cost that we had in New Jersey, because it was in an area where they only had two story homes, so we did have to put an elevator in. So that was an additional cost, but that was the only additional cost, because, as you're pointing out, everything else was on plan and you you design it in, there's no additional cost for building lower counters if you're doing it from the outset. So we did that. But then when we moved to we moved back to California, we couldn't find a place to build, and so then we did have to modify a home and it and the problem is that you can't really put it in the mortgage, and it's a little different today than it was when we moved back out here in 2002 but we couldn't put it in the mortgage, so it was $150,000 that we had to find. And eventually it it worked out as you, as you pointed out with like with you. Then we moved here to Southern California. We built this home, and I am, I'm very glad that we did. It's, it's a great house.   Simon Sansome ** 36:05 Yeah, we've got a lovely home now. It's fully adapted. It's great, you know, it's large. I can get around quite easily. So it's a it's very nice,   Michael Hingson ** 36:14 all one floor,   Simon Sansome ** 36:17 all one floor. Yeah, it's extremely long.   Michael Hingson ** 36:19 There you go. Well, so you went back to university and and clearly that was a major commitment and dedication on your part to decide to do that, but you didn't. What was the university like? How accessible was the university?   Simon Sansome ** 36:36 Oh, it wasn't accessible at all for me. So I had a manual hospital, manual wheelchair. At the time, I couldn't push myself around because of my spinal damage and the spinal damage that I've got. I can't really push myself well in a manual wheelchair, right? And we didn't have any money for a scooter, so the first year, I was really struggling because we didn't know what services we didn't know what services we could access. We didn't know what was available. I'm newly disabled. I'm new to this world, even my work for social services, and until you're sitting in the chair, what you know about the world is absolutely nothing. And so it wasn't until I came across Disability Services at the University who helped me apply for a grant with the snow interest in the UK, and they provided me with an electric scooter. Well, that was brilliant. I mean, oh my god, yeah, it's like I found freedom. Because obviously, you know, so my university is called, my university is called Democrat University. And although it's not on a hill by any means whatsoever. There is a slope going all the way down to the main campus. And it's quite, it's quite a long road, but the slope is very subtle school it helps, yeah, but if you're pushing yourself in a manual wheelchair up that slope, by the time you get to the main road, you're absolutely exhausted. You just can't push yourself anymore. Yeah, and it's about, it's about a quarter mile along the whole campus. And so, yeah, I was pushing myself backwards with my foot on the floor up the hill to get the classes and stuff. And I just said, This is ridiculous. This can't carry on. And so I spoke to Disability Services, and they helped me out. So,   Michael Hingson ** 38:16 so what did you do once you So you went to the university, you you did that, and you were committed to making it happen and and there, there had to be times that they would have been tempting to give up, but you didn't. No,   Simon Sansome ** 38:30 I wasn't really tempted to get up. I mean, I have side effects from my corticoana syndrome. I have, like, seizures in the legs, which can happen anytime, and that causes that knocked me out for a few days. Yeah, so I did get a few medical exemptions here or there, but, you know, the the lecturers were more than happy knowing that I was capable of doing the work, yeah, which is cool. Yes, very much so. But I did have to have a couple of exemptions here or there, but nothing major. But while I was at university, that's when I set up the Facebook page, which is now known as snowball community, and that's what brings us to it. So, right, yeah,   Michael Hingson ** 39:05 so tell us all about snowball and yeah, and everybody should know that I teased at the very beginning. I said, Well, now isn't it time that we should remember that snowball was the name of the pig in Animal Farm. And Simon's not read Animal Farm, so I   Simon Sansome ** 39:24 got red Animal Farm can't read, sorry.   Michael Hingson ** 39:27 Well, go listen to it. Then, you know, it's not that long on the book. It's not that long.   Simon Sansome ** 39:33 No. So when, when, after a year of recovery, when I was going to university, so I went. So we were going out for a meal. It was the first meal me and my wife went out following the injury, okay? And there's a really nice place in Leicester, Spanish tapas, and it was the first time out in the wheelchair for a meal, and we couldn't get in. Okay? We called up and the wheelchair wouldn't go through the door. There was a step. At the front. And they're like, can you step over? That went, No, not really. But what happened was, as well, they put a table in front of the disabled entrance as well. Oh, that was good. Yeah, they had a ramp that went into the road, so that was interesting. And then the disabled toilet was upstairs, and so it was an emitted, a mitigated disaster. It really was atrocious. And this, and we didn't know this, we know I've never paid attention to say what access, you know, it just something we'd never, you know, I've never really been in a wheelchair before, so why? Why would I, yeah, yeah, and only if   Michael Hingson ** 40:42 you took an interest, but most people wouldn't think of that, yeah, yeah, exactly understandable. So   Simon Sansome ** 40:48 yeah, we just thought, you know, what else can we not get into? And it turns out quite a lot. And so a couple of days later, I decided to set up a Facebook page. It was called Ability access. Back then. It's now, of course, now being rebranded snowball community. And you know, all it was, it wasn't anything special. It was a very simple Facebook page, and it was to raise awareness of disabled access in the Leicester area. That's all I wanted to do. I didn't want awards. I didn't want recognition. I didn't want any of that. But however, within like, I think it kind of triggered something in people. It's not mold. It snowballed. Yeah, exactly. And I'm not too sure why or how, but I started putting a post of pictures of things, of places I couldn't get into, and videos, and, you know, me being angry, and so on and so forth. And, you know, within a like, within a month, I had 1000 followers. You know, they went to 2005 1000. And just kept on growing and growing and growing. Then we got nominated for many the page got nominated for awards. He started winning awards. And that's when I, at the time, I decided I was going to create something, if I could, called snowball community, which was an app. I had the idea of a disability app, but I'll come to that in a second. And yeah, it just, it just would not stop growing at the moment, I think it's about 110,000 followers on social media, and in 2019 it became the most read disability page in the world because people sharing videos, people sharing stories. You know, we were reaching an audience of over 30 million people a month. At one point, it just got absolutely crazy. And I just mean, I couldn't carry on doing that. I mean that took a lot of time, that took a lot of effort. And we just said, Look, we can do something with this. We can use the audience we've got. We've got an audience who follows it on a regular basis, who comments on a regular basis. And I said to Kate, we could do something really special here. And so I just Yeah. Once I graduated in 2018 I graduated from university with, again, a two one with honors in journalism, and I was working as a freelance journalist as well, which is great. It's because I could work whenever I like, but really, ability access would now snowball, just started to take over my life on the social media pages. And I said, Look, we could design an app here and create an accessibility app, and it took years of design to try and get it right. It really did. We took, we took, we did consultations, but also we couldn't afford it at the time either. We had to raise money for it as well. That's quite hard. And so, no, it's at the moment. Snowball was launched last year, and we are looking to get 100 that it's won national awards. It's one we came back from Barcelona last week. Okay? It won funding at a global award ceremony. And it's really snowballing. It's, we're expecting 100,000 reviews on the app this year.   Michael Hingson ** 44:04 So do you? So have you created an actual nonprofit organization out of it, like snowball.org or anything like that?   Simon Sansome ** 44:15 No, I really wanted to. I wanted it to be a charity organization. Yeah. And the reason I wanted it to be a charity organization, because I had assistance from a charity organization in the UK while at university, however, um, here in the UK, there are very strict rules and regulations on what you can spend the money on if you're a charity. And I wanted to set up a fund to help students who have disabilities at university, so I can do that. But also, I wanted to give 10% of the profits to local businesses who can't afford to do their own adaptations. We're talking small businesses, coffee shops, you know, local cafes, bakers and butchers and so on and so forth, fruit and veg shops who simply haven't got the 1015 grand what's required to make their stores excess. Possible. So I still, I'm still ever have every intention of doing that, but I couldn't do that as a charity organization. The rules and regulations wouldn't allow me to spend the money where I wanted to and where I thought thought, see if it where it's needed to do so for the communities across the UK. So I actually set it up as a limited company with the intention of probably 10% of the profit aside for local businesses to apply for grants when we start making money.   Michael Hingson ** 45:30 Yeah, well, but that is, I would still say that is exciting. You're, you're, you're channeling all of that, and hopefully you'll be able to do some major things to to help raise a lot of awareness. So what other kinds of things do you do to help raise awareness about disabilities and so on?   Simon Sansome ** 45:50 Yeah, so we're launching a number of profiles, at the moment, a number of things. So what we're doing is, I'm sure you have it in America as well with you, probably for your restaurants and pubs and everything you have, something similar to a food safety hygiene certificate. Yes, I'm not too sure what you call it. Over there, we have a certain similar thing here. It's a rating from one to five, okay? And we're launching something called the snowball membership scheme, and we're taking our 70 staff over the next few months to cover the whole of the UK. And what we're going to be doing is we're launching a scheme where businesses, whether it's Frankie and Benny subway McDonald's, can sign up to the system where we will go out and basically view a disability consultation for 250 quid and give you a full breakdown of what you can improve on your business, but also gives you an access rating that you can promote on social media and say, Look, come to our business. We are disabled friendly, yeah. But what that does is that creates a huge opportunity for businesses and the snowball app, because we are creating the biggest disability app in the world, and it tells you where you can it tells you where you can access, where you can go, okay, where you can eat, where you can shop, but also, more importantly, where you can spend your own money. And I was doing some research earlier today, before this interview. And according to one, I think the valuable 500 is the disabled community in America has $8 trillion of disposable income right to spend on things like restaurants and cinema tickets and so on and so forth, to cafes and, you know, clubs and shops and whatever, per year. So $8 trillion is going unspent because the disabled community in America, which is 60,000,060 1 million, I believe, don't know where to spend their money.   Michael Hingson ** 47:48 Well, when you think about the fact that it's the largest minority worldwide, you hear anything from 20 to 25% of all persons have some sort of disability. The The only, the biggest challenge that I see is the problem is that the disabilities aren't uniform. That is, it isn't the same. The needs that that you have, to a degree, are different than the needs that I have. The bottom line, however, is that even if you deal with it in that term that everyone has different kinds of disabilities. The fact of the matter is, it's still awareness. And while you need physical access to get into a restaurant, I need access to be able to to know what's on the menu and know what it's going to cost. And you don't have as much of a need for that, as I do, because you can lift a menu and read it in theory, but the fact is that we all have different challenges, and as I've said a couple of times on this podcast, we need to really redefine disability. First of all, disability doesn't mean a lack of ability at all. This isn't really the issue, because we do have terms like disciple, discrete, you know, they're not all negatives and and so disability is is really something different than what people have made it into. Disability is a characteristic that everyone has, and it manifests itself differently. I love to say that that the reality is, for most people, your disability is that you're light dependent, because most people don't do well in the dark, and they and Thomas Edison fixed it by inventing the light bulb, but it still is a disability, even if it's covered up, because most of the time you have light disability is a characteristic that everybody manifests. It's just that we do it in different ways.   Simon Sansome ** 49:44 No, I completely agree. I'm hoping that the system that I've created will address that. So, because what we've done as well is not, it's not just the question of, oh, we're going out there and is disabled friendly, is wheelchair accessible? We're doing. Know, full disability consultation on the business. So, do they have Braille menus? Do they have a change in place facility? You know, is there a lift? Is there Braille on the lift, that kind of thing, and so. And we're also introducing something called the stimulation rating as well. And this is touch, touch, taste, sight, see and spell. And this is to give you an indication of what those things are at that place for people with visual impairments, for mental health issues and learning disabilities. Because, for example, if you go to the British Library, very quiet, you know it's going to be quiet. Okay. If you go to the Natural History Museum in London, well, some days it's really nice and peaceful on other days, because you've got 10 school 10 coaches of school children, absolutely chaotic. Okay, so it does vary considerably. And the whole idea is, is, while it's not a perfect rating system, because, like you said, there are so many different types of disability, not every disability is the same. Yours is different to mine. We're trying to incorporate a holistic approach to making sure that people feel comfortable going there, because they can relate to something that's on the assessment, and they can see what's there, so they get the full report, and therefore they can have an individual, independent, independent, independent decision on whether that place is suitable for them. So it's not a perfect system where it can be changed quite easily through feedback. It can be improved through feedback. It's like a moving model at the moment. It's like 16 pages long the assessment. But hopefully it will with the feedback we're getting and how it will grow. It will hopefully evolve into something absolutely fantastic for everyone to be inclusive everywhere.   Michael Hingson ** 51:42 Well, and that's a cool thing, clearly, to do. One of the things that I know well is that you and I were introduced by Sheldon Lewis at accessibe. Sheldon is in the nonprofit part of accessibe in helping to find places that need Internet access and who are nonprofits, especially in the disability world, and helps provide accessibe for that. And I don't know whether you all are doing much yet with accessibe, but clearly it's a great place to get involvement in the whole issue of internet website access is is a horrible thing. I mean, we have so many websites being created every minute, and the reality is that none of the major internet website building companies, including Microsoft and Google, do nothing to insist that for website is being built, it has to be accessible right from the outset. So, you know, accessibe is a great, inexpensive way to help with all that, and I'm assuming that Sheldon and you are working on that somewhat.   Simon Sansome ** 52:54 Yes, we are. We've had a discussion, and unfortunately, accessibe isn't available on apps at the moment, but that is something they're working on, and you introduce it soon. So I'm, I think once it's available on the apps, I will after, course,   Michael Hingson ** 53:07 but it is, however, the reality is that restaurants and other places do create websites, and people go to websites, and so that's, that's right now, the place where accessibe can make a significant difference.   Simon Sansome ** 53:22 Absolutely, I completely agree they should have it on there. Yeah. So   Michael Hingson ** 53:26 that is, that is a that is certainly one place where, you know, we can help. And certainly every restaurant should have an accessible website and and if they're going to have menus on the website, then there are certainly guidelines on ways to make those accessible, and that is part of what needs to be done.   Simon Sansome ** 53:46 Yes, and I completely agree with you. I support it, of course,   Michael Hingson ** 53:50 yeah. And you're right, apps, apps today, that's a different process. It's a different animal, but it will come, and that'll be something that that we'll be able to see. But in the short term,   Simon Sansome ** 54:02 yeah, I've told Sheldon, straight away, we'll get it on there straight away, as soon as soon as they've done the development for the apps, for access to be   Michael Hingson ** 54:09 Yeah, but right now, well, okay, but right now for your app, it could be accessible. You just build it that way, but it's not the app. But every restaurant should have an accessible website, and that really ought to be part of what you look at when you're going to a restaurant, to explore what and how accessible they are. Having accessible and inclusive websites is certainly something that is very straightforward to do today. Yes,   Simon Sansome ** 54:38 it is, but businesses are lazy   Michael Hingson ** 54:42 well, but you know, they also that they are, but they also think that it's more expensive than it needs to be, and that's part of the whole issue. I mean, if you go to a restaurant and it's not accessible because you can't get into it, so they're still lazy. They didn't make it. Accessible right from the outset, and either they're going to where they're not, and it's a lot No no, no offense in any way intended, but it's a lot less expensive to make a website accessible than it is to modify an entrance so that you can get in with a wheelchair when there are steps or a very narrow door. Yeah. So it is yeah, laziness goes always Yeah. And   Simon Sansome ** 55:23 hopefully, if they do have initiatives that hopefully snowball, can help me out with that, with the credit that we want to provide to small businesses, yeah,   Michael Hingson ** 55:30 yeah. And I understand that most businesses are pretty small and don't necessarily have a lot of money to spend, but with websites, that's where accessibe can make a big difference right from the outset? Yeah, absolutely, which is pretty cool. Yes. So what's, what's next as you go forward with snowball What are, what's the future going to hold?   Simon Sansome ** 55:52 Oh, my God, right. So, I mean, we're having a huge expansion, as I said, we're taking on about 70 staff to cover the whole of the UK. We're actually looking to franchise it as well across North America and Europe. We've also asked to be consultants for a number of governments as well. So it's going from strength to strength to strength. Every week, we keep on getting inquiries. We've got customers signed up already for the assessments, for the membership schemes. Loads in London. London's really taking off quite nicely. So it's where we're going at the moment is, I don't know, but in a couple of years time, I think we're going to be a major player in the app world for accessibility, because we already are the most that we are the biggest disability app in the world at the moment. Mm, hmm. By a long, long way, by, you know, 10s of 1000s of reviews. So nobody's really going to catch up with snowball, but we still need people to use it on a regular basis. That's the thing, because all the information we get is usually generated. Okay, in the UK, we're doing really well. In America, we need a bit more help. Yeah, but, you know, I was having a I was doing another podcast a couple of weeks ago in America, and there's a chap who wants to give us 10,000 locations of petrol stations across America where they went, because he doesn't know where to post it. All this information on accessible fueling stations across America, where they'll come out and help you to fill yes and you to fill your yes and stuff, and do help to pay for it. And he's just got no idea where to post it. So parallel, we think he's going to get we will win early stages of talks, and he wants to give us that information to help people to travel across America, and so they know where they can go and get their car filled up with assistance. So it's just we need people like that to leave reviews, to add places to use it on a regular basis, even if you go, even if you spot a car, you know, disabled car parking bay, you can have that. If you find an accessible toilet, add the accessible toilet. If you find an accessible restaurant, add the restaurant. Even if you find an inaccessible restaurant, add the inaccessible restaurant, because it will stop people going there and being disappointed. So all that information is extremely relevant to help people to be live a more independent life. So we need as many people across the world, including America, to download to to add reviews like you would on TripAdvisor. Is TripAdvisor for the disabled community. We just need more reviews and more people to use on a regular basis, and it will grow considerably. And therefore, once that's grown, we can start helping people more with like booking cinema tickets, booking airline travel holidays, and expand it that way as well. Because once businesses know that you're booking it through snowball, then they know you need extra assistance. So Sheldon,   Michael Hingson ** 58:43 has Sheldon talked to you about access find? Uh, no, okay, access is again, right now, it's website oriented, but access find is a database that accessibe created of accessible websites, and any website can say, you know, we have, we have made our website accessible, and it's checked, but then, when it is, then they are included in access, find. And it might be interesting to explore that, both in terms of websites, but finding ways to expand it. So we can, we can explore that and talk about that one. So what? What motivates you? I mean, you're doing a lot. Why?   Simon Sansome ** 59:28 It's the frustration of not being able to so, I mean, yes, remember, I for 32 years, I was fully independent. I could go anywhere in the world. I wanted to Okay, and it's the frustration that the world is not I'm not going to say it's not welcoming, because it's not that's not quite right. I'm going to say uneducated. And the ignorance of that everyone can access everything after having an injury like mine is very small mindedness, and I get. Frustrated that, because I travel a lot for work. I travel all over the world, and when we turn up to places, you know, we haven't got the right room, we can't access the hotel, we can't access the restaurant. It's got to the point where we don't choose where we want to go the place chooses us, yeah, and I don't, I don't think that's fair, no. And so I just want an equal opportunity world. That's what I don't like being turned away from places where we want to go for a family meal. I don't like being turned away from the cinema because the disabled seats so close to the screen. You know, it's, you know, it's just It frustrates me. And that's what, you know. I think that's what keeps up, keeping me going, but also as well, is when I was in hospital, because I got told I would never sit up again. I got told I was going to be on my back for life. Okay? And I'm very fortunate where I am. I mean, I know that sounds really stupid, because I'm paralyzed from the waist down, but I am very fortunate where I am, and I see, especially from a social services point of view, there are so many more people worse off than I am okay, and I just want to help them as much as I can. I want to give them choice. I want to give them a bit of independence. I want them to have that freedom of not being restricted to, you know, five, five places to go and eat, or, you know, the only place you can go to the cinema. I want you to the only tourist attraction you can visit. I want them to be fully inclusive. I want them to have a good life, you know. And I think snowball can help a lot of people do that.   Michael Hingson ** 1:01:40 Well, that's cool. So if people want to learn more about Snowball or access the app and so on, how do they do that? And how do they reach out to you? Yeah,   Simon Sansome ** 1:01:50 I'm on LinkedIn. Simon Samson, just send me a message. That's not a problem at all. Spell, if you would please. Yeah, S A N for November, s o m for mother, E for Echo,   Michael Hingson ** 1:02:03 and first name Simon, s, i, m, o n,   Simon Sansome ** 1:02:05 that's correct. You can also, you can also email us at support at snowball dot community,

Colombe Schneck's THE PARIS TRILOGY is a book—or rather three books, first published separately in French—about growing up, about friendship, about love, about family, about class, about womanhood and the patriarchy…and about swimming. In short, about every side of a life, as it just happens to take place in Paris. Rendered in crisp, fluid English by translators Lauren Elkin and Natasha Lehrer—who joins the conversation— THE PARIS TRILOGY begins with SEVENTEEN, a searingly frank account of the abortion the writer had as a teenager, passes through FRIENDSHIP, the devastating record of a childhood bond cut brutally short, and concludes with SWIMMING: A LOVE STORY, the chronicle of how this particular sport helped her build, and then grieve, a relationship.Buy The Paris Trilogy: https://www.shakespeareandcompany.com/books/the-paris-trilogy*Colombe Schneck is the author of eleven books of fiction and non-fiction, she has received prizes from the Académie Française, Madame Figaro and the Society of French Writers. The recipient of scholarships from the Villa Medicis in Rome and the Institut Français, as well as a Stendhal grant which allows French writers to do research and write abroad, she also spent fifteen years as a broadcaster for Canal Plus, France TV and Radio France. She was born in Paris in 1966 where she still lives, is a graduate of Sciences Po and Université de Paris II with a degree in Public Law.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

BØHM is an emerging techno artist from Spain. With his sound heavily shaped by the European underground scene, he quickly caught the attention of notable labels such as Anaoh, Soma, Animal Farm or Suara. His music and performances are characterized by energetic, hypnotic rhythms, and a balance of mental complexity and groove, pushing the listener to a constant state of tension. BØHM's releases have been played and supported by great artists like Amotik, Dj Dextro, Ø [Phase], Paula Temple, Oliver Rosemann and more, solidifying his presence in the techno scene. Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/   Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer   Keep up with SLAM: https://fanlink.tv/Slam  Keep up with Soma Records: https://linktr.ee/somarecords    For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

There's so much more to say about Singlish after last episode that we're saying some more of it this episode. Poet and academic Gwee Li Sui, author of Spiaking Singlish: A Companion to how Singaporeans Communicate, describes the resistance he received in Singapore when he published Singlish translations of literary works - and why they are important and celebratory for Singlish. And Stacey Mei Yan Fong, baker and author of 50 Pies, 50 States, explains how the language that used to be embarrassing for her is now a huge comfort. Find out more about the episode and read the transcript at theallusionist.org/singlishsinglish. And listen to the previous episode about Singlish at theallusionist.org/singlish. To help fund this independent podcast, take yourself to theallusionist.org/donate and become a member of the Allusioverse. You get regular livestreams with me and my collection of reference books, inside scoops into the making of this show, and watchalong parties - we're enjoying Merchant Ivory films, the current seasons of Great British Bake Off and the Canadian version, and Taskmaster featuring my brother Andy. Coming up, we've got What We Do In The Shadows, Pride & Prejudice, and Carol! And best of all, you get to bask in the company of your fellow Allusionauts in our delightful Discord community.  This episode was produced by me, Helen Zaltzman, with music and editorial assistance from Martin Austwick of palebirdmusic.com. Thanks to Y-Lynn Ong. Find @allusionistshow on Instagram, Facebook, YouTube, Xitter, Threads, Bluesky, TikTok,  etc. Our ad partner is Multitude. If you want me to talk about your product or thing on the show, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by: • Rocket Money, the personal finance app that helps find and cancel your unwanted subscriptions and monitors your spending. Go to rocketmoney.com/allusionist to save money and lower your outgoings.• Home Chef, meal kits that fit your needs. For a limited time, Home Chef is offering Allusionist listeners eighteen free meals, plus free shipping on your first box, and free dessert for life, at HomeChef.com/allusionist.• Squarespace, your one-stop shop for building and running your online bailiwick. Go to squarespace.com/allusionist for a free 2-week trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Constant Wonder, the podcast that opens our eyes and ears to the nature around us and its, yes, constant wonders. Listen to Constant Wonder in your usual podcast-listening places.Support the show: http://patreon.com/allusionistSee omnystudio.com/listener for privacy information.

In honor of Halloween, Scott and Michael return to discuss more of their picks for some of the scariest moments in animation. “Animal Farm,” “The Care Bears Movie,” and “Puss in Boots: The Last Wish” are among the films discussed, along with the lost media mystery of the animated short “The Clockman.” Join them as they celebrate more terrifying Toons! Find more From Pencils to Pixels: The Animation Celebration Podcast at: www.rf4rm.com Follow the show on X/Twitter: @pencil2pixel Follow the hosts on social media: Scott on X/Twitter: @scotthopkins76 Michael on X/Twitter: @mlyonsfl I Michael's website: www.wordsfromlyons.com Rate, review, & subscribe to From Pencils to Pixels on Apple podcasts I Google Play I Stitcher          

A woman speaks to us from her room in a residential home, of some description. She reflects on her life, her family, her pets, on time—the past, present and the future—on Manson Family Alumnus Leslie Van Houyten, on History, on Death, on the Occult, on what it means to be “sensitive”…and so much more besides. All the while she is distracted, bothered, grounded, and charmed by her fellow residents, a rag-tag slice of American life if ever a novel saw oner. As you can imagine from a Lynne Tillman book—indeed, as you would hope—things get discursive, things get disrupted, things get WEIRD, very quickly. First published in 2006, AMERICAN GENIUS, A COMEDY achieves the eerie feat of growing more pertinent as time goes on. Deeply aware of the tradition of the novel—perhaps the American novel in particular—Tillman is also confident enough in the newness of her project, and mischievous enough in her approach, to subvert that tradition almost to breaking point. To echo the words of George Saunders, AMERICAN GENIUS, A COMEDY is “beautiful, sacred, insane.”Buy American Genius, A Comedy here: https://www.shakespeareandcompany.com/books/american-genius*Lynne Tillman is a novelist, short story writer, and cultural critic. Her novels are Haunted Houses; Motion Sickness; Cast in Doubt; No Lease on Life, a finalist for the National Book Critics Circle Award; American Genius, A Comedy; and Men and Apparitions. Her nonfiction books include The Velvet Years: Warhol's Factory 1965–1967, with photographs by Stephen Shore; Bookstore: The Life and Times of Jeannette Watson and Books & Co.; and What Would Lynne Tillman Do?, a finalist for the National Book Critics Circle Award in Criticism. Her most recent short story collections are Someday This Will Be Funny and The Complete Madame Realism. She is the recipient of a Guggenheim Foundation Fellowship and an Andy Warhol/Creative Capital Arts Writing Fellowship. Tillman is Professor/Writer-in-Residence in the Department of English at The University of Albany and teaches at the School of Visual Arts' Art Criticism and Writing MFA Program in New York. She lives in Manhattan with bass player David Hofstra.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

On this episode of Currently Reading, Kaytee and Roxanna are discussing: Bookish Moments: meeting bookish friends IRL and getting fun bookish mail Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: fall books that aren't spooky, scary or academia The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  .  1:57 - Our Bookish Moments of the Week 3:25 - Queen Books 7:21 - Amari and the Despicable Wonders by B.B. Alston 7:26 - Blackwell's UK 7:46 - The Swifts: A Gallery of Rogues by Beth Lincoln 7:50 - The Swifts: A Dictionary of Scoundrels by Beth Lincoln 8:04 - Silverborn by Jessica Townsend 8:21 - Heir by Sabaa Tahir 8:26 - Libro.fm 8:33 - Ember in the Ashes by Sabaa Tahir 9:06 - City of Brass by S.A. Chakraborty 10:00 - Our Current Reads 10:12 - Fellowship Point by Alice Eliott Dark (Roxanna) 15:07 - Lillian Boxfish Takes A Walk by Kathleen Rooney 16:11 - The Remains of the Day by Kazuo Ishiguro (Kaytee) 21:14 - The Second Ending by Michelle Hoffman (Roxanna) 22:49 - Where'd You Go, Bernadette? By Maria Semple 24:42 - The Return of Ellie Black by Emiko Jean (Kaytee) 24:50 - Tokyo Ever After by Emiko Jean 27:47 - Cold Blood Liar by Karen Rose 29:25 - Fifteen Dogs by Andre Alexis (Roxanna) 31:02 - Lord of the Flies by William Golding 31:03 - Animal Farm by George Orwell 34:14 - A Short Walk Through A Wide World by Douglas Westerbeke (Kaytee) 34:20 - Commonplace Books 36:09 - The Invisible Life of Addie LaRue by V.E. Schwab 36:49 - Currently Reading Patreon 38:55 - The Miraculous Journey of Edward Tulane by Kate DiCamillo 40:17 - Fall Books That Are Not Spooky 41:24 - Tom Lake by Ann Patchett 42:58 - Anne of Green Gables by L.M. Montgomery 43:28 - September by Rosamunde Pilcher 44:10 - Still Life by Louise Penny 44:54 - First Frost by Sarah Addison Allen (Amazon link) 45:08 - Practical Magic by Alice Hoffman 45:38 - Tell Me Everything by Elizabeth Strout 46:06 - Outlander by Diana Gabaldon 46:08 - The Other Boleyn Girl by Phillipa Gregory 46:12 - Pillars of the Earth by Ken Follett 46:30 - Drums of Autumn by Diana Gabaldon 47:22 - The Sunday Philosophy Club by Alexander McCall Smith 48:03 - The Song Collector by Natasha Solomons (Amazon link) 48:31 - The Dutch House by Ann Patchett 49:07 - Search by Michelle Huneven 49:45 - House Lessons by Erica Bauermeister 50:19 - The Lager Queen of Minnesota by J. Ryan Stradal 50:33 - Kitchens of the Great Midwest by J. Ryan Stradal 50:40 - Go as a River by Shelley Read 50:56 - Stardust by Neil Gaiman 51:02 - The Princess Bride by William Goldman 51:57 - Shady Hollow by Juneau Black 52:05 - Emily Wilde's Encyclopaedia of Faeries by Heather Fawcett 52:31 - The Guide by Peter Heller 52:41 - The Shadow of the Wind by Carlos Ruiz Zafon 53:20 - Jane Eyre by Charlotte Bronte 53:36 - The Night Circus by Erin Morgenstein 54:14 - Rebecca by Daphne Du Maurier 55:41 - Meet Us At The Fountain 57:15 - Tom Lake by Ann Patchett 57:22 - I wish you would consider re-reading books that bring you joy. (Roxanna) 58:03 - I wish to always have an “in case of emergency” book. (Kaytee) 58:17 - The Spellshop by Sarah Beth Durst 58:57 - Legends and Lattes by Travis Baldree 58:58 - A Psalm for the Wild Built by Becky Chambers 59:00 - Sipsworth by Simon Van Booy Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. October's IPL comes to us from our anchor store, The Novel Neighbor! Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business.  All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

In the darkest days of World War II, Algerian-French writer Albert Camus sent a defiant message to the Nazis: our victory is inevitable. If you're feeling any election anxiety or grappling with uncertainty about the months ahead, watch this video on Camus' powerful Letter to a German Friend, from his book Resistance, Rebellion, and Death. It's a reminder that our resistance to authoritarianism has deep, resilient roots. And if you're dealing with MAGA extremists in your life—whether you're navigating tough conversations, protecting your space from harassment, or simply trying to understand the cult of Trump—join our live taping with Dr. Bandy Lee, author of The Psychology of Trump Contagion: An Existential Danger to American Democracy and All Humankind, on October 29 at 12 PM ET for our Truth-Teller-level subscribers and higher. You can also send in your questions for Dr. Lee through Patreon if you can't make the live event. On October 24th at 7pm ET, we're releasing a recording of our How to Make a Podcast workshop to answer the questions we frequently get from listeners and help you find your voice. This will be available to our Democracy Defender-level subscribers and above, starting today. We have a lot of exciting events lined up in the coming weeks to connect with our community of listeners. Don't miss our Political Salons every Monday at 4 PM ET on Zoom—a space to vent, ask questions, share what's going on in your world, and just hang out. It's become a dynamic part of shaping the show! Thank you to everyone who supports Gaslit Nation—we couldn't make this show without you. Be sure to subscribe and join us for the lively discussions ahead! A programming change: Our bonus episode Q&A answering questions from our listeners at the Democracy Defender-level and higher will now run next Saturday. Get your questions in, if you haven't yet! Photo: With my uncle Vitalij Keis in his library. For more on his story, listen to our 2013 interview with NPR here: https://theworld.org/stories/2013/08/15/orwells-animal-farm-and-ukrainian-refugees Show Notes: Camus' Letters to a German Friend, a Warning for Our Times https://casdinteret.com/2021/11/albert-camus-letters-to-a-german-friend-warning/ Broadcast to Germany: Dorothy Thompson Speaking https://www.theatlantic.com/magazine/archive/1943/01/broadcast-to-germany-dorothy-thompson-speaking/657045/ Orwell's ‘Animal Farm' and Ukrainian Refugees https://theworld.org/stories/2013/08/15/orwells-animal-farm-and-ukrainian-refugees Orwell and the Refugees: The Untold Story of Animal Farm https://www.amazon.com/Orwell-Refugees-Untold-Story-Animal-ebook/dp/B007JNKF5G  

Tristan joins me to cover this story's rich use of symbolism and its crucial place in the history of intelligence and psychological warfare. He is here https://www.youtube.com/@tristanhaggard Next live event here: https://www.toplobsta.com/pages/brohemian-grove Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comBill Wasik is the editorial director of The New York Times Magazine. Monica Murphy is a veterinarian and a writer. Their first book, Rabid: A Cultural History of the World's Most Diabolical Virus, was a bestseller, and they're back with a new one: Our Kindred Creatures: How Americans Came to Feel the Way They Do About Animals.For two clips of our convo — on the beginnings of dog welfare, and the “Uncle Tom's Cabin” for animal activism — pop over to our YouTube page. Other topics: writing a book as a married couple; the mass extinctions of early America; bison at the brink; how horses increased after the Industrial Revolution and drove the early movement for animal welfare; “the best humanitarian ideas came from England”; bullfighting in Spain; the profound role and colorful character of Henry Bergh; his founding of the ASPCA; the absence of vegetarianism among early activists; PT Barnum's sympathy and exploitation; transporting Beluga whales by train; the public clashes between Barnum and Bergh; journalism's role in animal welfare; George Angell's magazine Our Dumb Animals; the anti-slavery Atlantic Monthly; animal activism growing out of abolitionism; Darwin; Romanticism; George Bird Grinnell and first Audubon Society; fashion and consumerism; wearing hats with whole birds; the emotional lives of dogs; the activism around strays; the brutality of early shelters; rabies and dog catchers; Louis Pasteur and the rabies vaccine; Anna Sewell's Black Beauty; how she was robbed of royalties; the treatment of horses in Central Park; reform movements driven by elites; class resentment; Animal Farm and Watership Down; the cruelty of today's food industry; pig crates; Pope Francis; and Matthew Scully's Dominion.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Walter Kirn on his political evolution, Musa al-Gharbi on wokeness, Sam Harris for our quadrennial chat before Election Day, and Damon Linker on the election results. Wait, there's more: Peggy Noonan on America, Anderson Cooper on grief, Christine Rosen on humanness in a digital world, Mary Matalin on anything but politics, and John Gray on, well, everything.Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

In an Orwellian twist, the word “Orwellian” has been misused so much over the decades that it's essentially lost its meaning. But George Orwell, author of the classics Animal Farm and 1984, was very clear in his beliefs. While he was progressive and prescient in many ways, he wasn't without his flaws. This week, Sean Illing explores the real George Orwell with Laura Beers, the author of Orwell's Ghosts: Wisdom and Warnings for the Twenty-First Century. Host: Sean Illing (@seanilling), host, The Gray Area Guest: Laura Beers Enjoyed this episode? Rate The Gray Area ⭐⭐⭐⭐⭐ and leave a review on Apple Podcasts. Be the first to hear new episodes of The Gray Area by following us in your favorite podcast app. Links here: https://www.vox.com/the-gray-area Support The Gray Area by making a financial contribution to Vox! bit.ly/givepodcasts Learn more about your ad choices. Visit podcastchoices.com/adchoices