Podcasts about be cold

Topics: Revelation 3:16, Revelation 2-3, Revelation 3:15-17, Spit You Out of His Mouth, Spew You Out, Hot OR Cold, Hot Serves a Purpose, Cold Serves a Purpose, Lukewarm Serves No Purpose, Lukewarms, On Fire For the Lord, Cultural Christianity, Depart From Me, Mixing Law with Grace, Laodicean Hot and Cold Water From Neighboring Town, What Do You Do “For” the Lord, On Fire Competition, Luke 18, “I Fast and I Tithe,” Not Like This Sinner, “I Go to Church,” Comparison Game, Someone Is Always More on Fire, Not About Losing Salvation, Not About Losing Rewards, Hebrews 7:25, John 14:19, Matthew 20, Parable of the Vineyard Workers, Reward of the Inheritance, Colossians 3, Loss of Purposefulness, Loss Sight of First Love, Revelation 2, Abandoning Jesus, Jezebel Teaching Sexual Immorality, Licentiousness, Woman Teaching, 1 Timothy 2, Food Sacrificed to Idols, Lampstand Removed, Modern Church Has Forgotten Its First Love, Moralism, Principles, Law and Grace, King in the Church, Ignoring of 1 Corinthians 11-14, Give to Get, One Main Member, Not Encouraged to Participate, Roman Imperialism and Tradition of Men, Sermons, Cult-Like Gatherings, It Will Not Be Like This Among You, Matthew 20:26, Mark 10:43, Body Life Removed, Revelation 3:17, “You Say You're Rich and Wealthy and Don't Need a Thing,” “Wretched, pitiful, poor, blind and naked,” Distasteful to Jesus, Anti-Gospel, Not Forgiven, Not Righteous, Call Saints Sinners and Tell Them Not to Sin, Call the Righteousness of God “Not One Righteous!”, Try Harder, Put God First, Obey Pastor, What Is Purposefulness, Expressing the Fruit of the Spirit, Not Judging or Condemning, John 12:47, John 3:7, The World Stands Judged and Condemned Already Because of Unbelief, He Won't Spit You Out, Even When You're Faithless He Remains Faithful, 2 Timothy 2:13, Persuade others With the Love of Jesus, He Will Hold No Sin Against you, 2 Corinthians 5:19, Christ's Ambassadors, Be Reconciled, 2 Corinthians 5:20, Be Hot, Be Cold, Be Purposeful, Be Yourself, Remember Your First Love and Express Him.CORRECTION: I said Acts chapter 2 when describing Jezebel but I was talking about Revelation 2.Support the showSign up for Matt's free daily devotional! https://mattmcmillen.com/newsletter

NO!!! The radical left is using climate lockdowns to imprison us in communist cities where we'll be forced to walk to all the nearby amenities.Join Nebula (and get 40% off an annual subscription): https://go.nebula.tv/deniersplaybookBONUS EPISODES available on Patreon (https://www.patreon.com/deniersplaybook) SOCIALS & MORE (https://linktr.ee/deniersplaybook) CREDITS Hosts: Rollie Williams & Nicole Conlan Executive Producer: Ben Boult Audio Producer: Gregory Haddock Researcher: Carly RizzutoArt: Jordan Doll Music: Tony DomenickSOURCESGoogle Trends: “15 Min City” Search term interest since 2018What Is A "15 Minute City" & Why Are They Part Of "The Great Reset"? w/ Marc Morano – Ask Dr. Drew (YouTube)AFP Factcheck: Ohio train derailment fuels 15-minute city conspiracy theories (2023) Instagram post by standupcardiff (2023)Reuters Fact Check: Fact Check-‘15-minute city' is an urban planning concept that promotes easy access to essential amenities (2023)Institute for Strategic Dialogue: ‘Climate Lockdown' and the Culture Wars: How COVID-19 Sparked a New Narrative Against Climate Action (2021) Project Syndicate: Avoiding a Climate Lockdown (2020)MarketWatch: Opinion: We need to act boldly now if we are to avoid economy-wide lockdowns to halt climate change (2020) TedTalk by Carlos Moreno: The 15-minute cityMPDI: Introducing the “15-Minute City”: Sustainability, Resilience and Place Identity in Future Post-Pandemic Cities (2021)NYT: He Wanted to Unclog Cities. Now He's ‘Public Enemy No. 1.' (2023)Teen Vogue: What Are “15-Minute Cities” and Why Are Conspiracy Theorists Worried About Them? (2023)NewsBusters: Soros/Gates-Funded Org ($6.5M): World May Need ‘Climate Lockdown' (2020)IPCC: Climate Change 2022 Mitigation of Climate Change, Working Group III Contribution to the Sixth Assessment Report of the Intergovernmental Panel on Climate Change (2022, PDF Download)Coin Bureau: 15 Minute Cities: Oxford Won't Be the Same! (YouTube, 2023)Climate Depot: UK Guardian activists hope Coronavirus lockdown becomes climate lockdown: ‘What was once impossible (socialist, reckless) now turns out not to be, at all' (2020)Oxfordshire County Council: Consultation on trial traffic filters (2022)Oxfordshire County Council: Traffic filters: What traffic filters are and how they will work.Oxfordshire City Counci's Twitter post about 15 Minute CitiesVision News: Oxfordshire County Council Pass Climate Lockdown 'trial' to Begin in 2024 (2022)The Daily Sceptic: Oxford County Councillors to Introduce Trial Climate Lockdown in 2024 (2022) Archive.org: Jordan Peterson Tweet (2022)Twitter: The New Statesman: The 15-minute City is a working-class nightmare (2023)Forbes: Tory MP Uses Conspiracy Theory In U.K. Parliament Against 15-Minute City Concept (2023)Archive.org: Fox News: The Ingraham Angle: In a Net-Zero Economy, You'll Be Cold and Hungry (2023)USA Today: Fact Check: False claim UK city will test 'climate lockdowns' in 2024 (2022)AP News: Traffic plan in Oxfordshire, England, isn't a ‘climate lockdown' (2022)Reuters: Fact Check-Oxfordshire County Council to trial congestion-reducing traffic filters, not a ‘climate lockdown' that stops residents leaving neighbourhoods (2022)DeSmog: Revealed: The Science Denial Network Behind Oxford's ‘Climate Lockdown' Backlash (2023)Bloomberg: The 15-Minute City Freakout Is a Case Study in Conspiracy Paranoia (2023)C40: Introducing Spotlight On: 15-minute cities (2021)Portland.gov: The Portland Plan (2012) The Guardian: The Guardian view on the climate and coronavirus: global warnings (2020)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Teaser: Oscar Wilde and Agatha Christie on in/sanitySong 1:  “Kind of Crazy” written and performed by JVM with Dan Modaff on mandolinPoem 1: “Meditation“ by Hilda Raz. Published in Letters from a Place I've Never Been: Collected and New Poems. University of Nebraska Press, 2021. https://hildaraz.com/Short Story: “Flight,” by Lynn C. Miller. Forthcoming in The Lost Archive: Stories, University of Wisconsin Press, 2023. www.lynncmiller.comFeed the Cat Break:  “Dawgie's Tale” by JVMPoem 2: “Monster” by Tina Carlson. Published in ABQ inPrint issue 5. Her new collection, A Guide to Tongue Tie Surgery,is forthcoming from the University of New Mexico Press in 2023.Song 2: “Tried to Be Cold” written and performed by JVMEpisode artwork by Lynda Miller Show theme and Incidental music by John V. Modaff Recorded in Albuquerque, NM and Morehead, KY.   Produced at The Creek Studio, Morehead NEXT UP: Episode 18, “Closets”

Mystery 444 of Scooby Dos or Scooby Don’ts has a Frozen reference in it. Need we say more? Listen to find out! Mystery 444: Be Cold, Scooby-DooHosts: Amelia (@FatalAmelia) and Billy (@thebillyseguire)Air Date: 2021/02/02iTunes DownloadGoogle Play Download You can find updates, pictures, or ask questions at the official Scooby Dos or Scooby Don’ts twitter (@scooby_dos) … Continue reading "Mystery 444: Be Cold, Scooby-Doo"

Mystery 444 of Scooby Dos or Scooby Don'ts has a Frozen reference in it. Need we say more? Listen to find out! Mystery 444: Be Cold, Scooby-DooHosts: Amelia (@FatalAmelia) and Billy (@thebillyseguire)Air Date: 2021/02/02iTunes DownloadGoogle Play Download You can find updates, pictures, or ask questions at the official Scooby Dos or Scooby Don'ts twitter (@scooby_dos) … Continue reading "Mystery 444: Be Cold, Scooby-Doo"

Ep 287 - The Right to Be Cold Guest: Sheila Watt-Cloutier   On February 18th, SFU’s Morris J. Wosk Centre for Dialogue presented Sheila Watt-Cloutier with the Jack P. Blaney Award for Dialogue in recognition of her outstanding global leadership using dialogue in her work as an advocate for indigenous, environmental and cultural rights.  Shauna Sylvester, Executive Director of the Centre says, “Sheila’s quiet determination has moved thousands – from global leaders to young climate advocates. She is an educator, dialogue innovator and elder who has helped us understand the experiences of the Arctic and learn about what this means for our shared future.” Watt-Cloutier previously held the role Canadian President of the Inuit Circumpolar Council (ICC), later to become the International Chair where she worked extensively to open space for dialogue that welcomes and invites the voices of indigenous peoples. Watt-Cloutier’s dialogue approach brings in indigenous storytelling as an empathy-driven connector between the minds and hearts of those she works with. Watt-Cloutier is author of the memoir, The Right to Be Cold, a chronicle of Canada’s North detailing the devastating impact of climate change on Inuit communities.  We invited Sheila Watt-Cloutier to join us for a Conversation That Matters about the changes she has witnessed in the arctic.   Conversations That Matter is a partner program for the Morris J Wosk Center for Dialogue at Simon Fraser University. The production of this program is made possible thanks to the support of the following and viewers like you. Please become a Patreon subscriber and support the production of this program, with a $1 pledge https://goo.gl/ypXyDs     

In the ninth episode of the "Capitalism, Climate Change, and Culture" podcast series from GMU Cultural Studies, Christine Rosenfeld talks with Sheila Watt-Cloutier, an Inuit advocate who has worked on issues related to climate change and Persistent Organic Pollutants. Watt-Cloutier was a Nobel nominee and has receive the prestigious Right Livelihood Award for her work addressing climate change as a question of collective human rights. Her memoir The Right to Be Cold narrates her life, beginning as a youth in a remote Inuit village.Watt-Cloutier and Rosenfeld discuss some ways to highlight the cultural and human dimensions of climate change, the value of understanding climate change as an issue of collective human rights, and what will be lost if decisive action is not taken immediately.This podcast series is associated with George Mason University Cultural Studies' Colloquium Series. This year's series is called "Capitalism, Climate Change, and Culture." The industrial revolution liberated human beings from the cycles of nature — or so it once seemed. It turns out that greenhouse gases, a natural byproduct of coal- and petroleum-burning industries, lead to global warming, and that we are now locked into a long warming trend: a trend that will raise sea levels, enhance the occurrence of extreme weather events, and ultimately could threaten food supplies and other vital supports for modern civilization. This podcast series examines the cultural and political-economic dimensions of our ongoing, slow-moving climate crisis. We engage experts from a variety of fields and disciplines to ask questions about capitalism and the environment. How did we get into this mess? How bad is it? Where do we go from here? What sorts of steps might mitigate the damage — or perhaps someday reverse it? At stake are deep questions about humanity’s place in and relationship to nature — and what our systems of governance, production, and distribution might look like in the future.Learn more about the Cultural Studies Program at GMU: http://culturalstudies.gmu.eduRead more on Sheila Watt-Cloutier's Right Livelihood Award profile.Interview: Christine RosenfeldProduction and Editing: Richard Todd StaffordColloquium Organizer: Roger LancasterMusic: Kevin MacLeod "Acid Trumpet," used under a Creative Commons Attribution 3.0 Unported License

San Francisco's Magic Theatre Artistic Director Loretta Greco talks about her friendship and work with the late playwright, actor, author, screenwriter and director, Sam Shepard, who passed away on July 27, 2017 at the age of 73.Transcript:Speaker 1: Method to the madness is next. You listening to method to the madness, a public affairs show on k a l x Berkeley Celebrating Bay area innovators. I'm your host, Lisa Keifer. And today I'm speaking with Loretta Greco, the artistic director of San Francisco's magic theater. We'll be talking about Sam Shepherd, one of America's greatest playwrights who passed away this year, July 27th, 2017 at his [00:00:30] home in Kentucky due to complications of Lou Gehrig's disease at the age of 73. Sam Shepard spent a decade as playwright in residence at San Francisco's magic theater. Loretta, thank you for coming over here. My pleasure. And I just want to talk about Sam shipSpeaker 2: because I feel like if people pass away and then it's over, I have to talk about his work. And you actually worked with him for several years. How did you [00:01:00] meet? Well, I should back up and say that I had been reading about the magic theater in San Francisco my whole life. I grew up in Miami, went to school in New Orleans, Washington, New York. And it was because of Sam, uh, you know, uh, John Lyon gave Sam a residency there for 10 years, starting when starting in 74 to about 84. But that's where he wrote bury child and full for love and true West family trilogy, family trilogy, and probably [00:01:30] well undoubtedly plays that are going to go on forever. And, uh, and so when I got here 10 years ago, I started looking for Sam and he, he was, he, when you say you were looking for him drop, what do you mean?Speaker 2: Well, I mean, literally I got there and there was like no number, no, like it was there. It was a lot of fun tracking them down. And I finally, um, I went through his agent and Judy Dolan and she sort of was a great like guard dog. So I had to meet her and then she said, [00:02:00] Oh yeah, yeah, Sam will love you. And so, but you said you're on your own, you know, here's this number. You have my blessings, good luck. And, um, when we finally reached each other about five years ago, six years ago, he just, he was incredible. He was just so real. And so we, I was reaching it because I wanted to celebrate him while I was still around and you had just taken over the magic taken over. And I wanted [00:02:30] to do a shepherding America where we went through all of his major plays and, um, but I didn't want to do it if he didn't want to be a part of it.Speaker 2: And, um, so that's why I was reaching out to him. Boy, it was just something meeting him. He came out and he did an evening where he just read from his work and Lisa, it was incredible. And that's when we spent about five days together. And then, you know, he, he surprised me several times in San, like he'd just show [00:03:00] up. Um, and then if he was in New York and I was in New York, we would see each other there. So he was just, he was so incredibly kind and generous and I think, um, a lot of other things as well. But I think those are the things that you don't hear about him as much. Um, he's just incredible. Let's talk about his work just a bit because I feel like he's one of our greatest absolute rights. What is it that you find or found in his work that made you want to seek him out?Speaker 2: [00:03:30] Well, they're inexplicably, they are, um, not, they are plays that are not meant to be understood, fully digested, wrapped up in a big bow. They're works that are there to make you feel and to lean in. They're muscular, they're visceral, they're active, they are totally active. And um, I just, I got in a huge argument once with the patron, cause I said [00:04:00] Shepard is without a doubt our greatest American. Dramatist and um, you know, she took me on. What about Miller? What about Alby? And I said shepherd has been writing. He's, he wrote into his six decade, he wrote, since he was a little, you know, late teens, he wrote 55 plays. He wrote screenplays. He has five collections of pros, like the sheer magnitude and depth of that work. I mean there isn't [00:04:30] a canon like it. Actors kill to play these roles. I mean, you know you fell in love with them. I do. You know, through his work. I mean you can't, my introduction was true west and I was so blown over and then that led me down the path.Speaker 3: Are you crazy? You went to college [inaudible] you're rolling in the docks floating up and down in elevators and you want to learn how to live on the yaks. Yeah, I do [00:05:00] lake. Hey, there's nothing down here for me. There never was when we were kids here was different. There was a lights here then. No, no. I keep coming down here like it's the 50s or something. I get off the freeway and familiar landmarks. They turn out to be unfamiliar on my way to do these, these appointments. I wondered on the streets, I thought I recognized they turned out to be replicants as traits. I remember streets I mr member streets. I don't know if I lived out of her. If I saw [00:05:30] him in a scary field, the just don't exist. There is no point in crying about that as not been rammed down their lien. Please dear mommy, I can't save you and you can let me come with you guys. Let me come with the weight that I choose to live in the middle of nowhere. Huh? You think [00:06:00] it's some kind of philosophical decision I took. Boy, I live out there. Be Cold. I can't make it here.Speaker 2: Jessica Lange said that no man she had ever met compared to Sam. In terms of maleness, what do you think about that statement? You know, um, he had it going on until the last time I saw him and I saw him when he was sick. I said, what do you think she meant by this wellness? He is [00:06:30] profoundly male. He is. Um, first of all, he was a long, tall drink of water, man. He just, I'm, I'm five, nine and he made me feel small and that's great. And he's just, I mean, come on. He hunts. I, I can't, it's so [inaudible] reminds me of, he reminds me a lot of William Faulkner, the way they live, the way they drank their maleness. And what they said about [00:07:00] the myth of the American dream? Well, exactly. I mean, I think the thing about Sam was he was the iconic marble man.Speaker 2: I mean, he, he hunted, he, he, he smoked, he drank. He, um, he rode horses. He loved his horses, he loved his dogs. He, um, he was just incredible and he lived so long that he really did experience the west, that old mythic west and [00:07:30] the promise of the American dream. And then lived to see that promise reneged, you know? And so I think that, um, he also, he turned heads everywhere. He went. I mean, we'd be sitting in a diner and people would come up and say, are you Sam Shepard? And they'd be in their teens all the way to women, much more mature. Um, what was it like for actors to work under his direction? Did you [00:08:00] observe that? I knew several, and I think that actors loved him because, because a, he was an actor and a fine one, and he understood and respected the craft.Speaker 2: And so he guided with a loving, gentle hand, but he didn't get in people's way. He knew that if he laid a little path that people would find their own way. And so he wasn't a micromanager. He really [00:08:30] let people soar and find their own, their own journey to his characters. And he said once that he assumed that if you are, if you're doing this, and you must understand what I'm saying. Yes, yes. And speaking Sam's words like that's come on. Malcovich um, James Gammon, um, uh, uh, ed Harris, Kathy Baker. Um, these are people that were drawn to that [00:09:00] muscularity and lived for it. And it, I think that Sam and that work baked a kind of muscularity into the magic into Steppenwolf so that then it set the bar high in terms of what theater really was and what you needed to feel across the boards for it to be viable. And he never stopped writing.Speaker 1: If you're just tuning in, you're listening to method to the madness. Public Affairs [00:09:30] show on k a l x Berkeley Celebrating Bay area innovators. Today we're remembering Sam Shepard and talking with Loretta Greco, San Francisco's magic theaters, artistic director, Sam Shepard's association with the Magic Theater included 24 productions in total. He spent a decade as playwright in residence where he premiered his master works buried child, true west and fool for love. He returned in the year 2000 [00:10:00] to direct the world premier of his work, the late Henry Moss. And he had just written a fictional [inaudible]Speaker 2: book, which is kind of autobiographical in his last year. The one inside was published last January and he wrote it while he was sick, but he wrote it and it's astounding. The particle of dread was published a [00:10:30] couple months later. That was his re dreaming of Oedipus. And he did it in dairy Ireland with Steven Ray. It's an incredible script and his latest spy of the first person has just come out. It's being published months after his death. He was working on this as he was sick. He was recording it and he was dictating to Roxy and sandy has two sisters. And um, and it's my understanding [00:11:00] then his daughter. And, um, and then Patty Smith worked with them on both the last two novels to help that it, they go way back and they remained such close friends. And so, I mean, who does that? I mean I just, I opened this book, I wanted to look at the letters between Sam and Joe Chaikin before I came here and look at what he opens this with.Speaker 2: It's a Brecht who he loved Brecht and Beckett. This is [00:11:30] his opening quote. You can make a fresh start with your final breath. Oh, that's, that kills me. Yeah. He never stopped. The last time I saw him was the day before he left for Kentucky. I sat with Sandy and Roxie and Sam and my partner mark in Healdsburg. And um, Sam was writing, we talked about Beckett. We talked about where do you think the Beatles came up with the lyrics for blackbird? He was contemplating all these things [00:12:00] and he said to me, can you believe it? I'm still writing. I'm not stopping. I can't stop. I mean, I think this is the thing about Sam. He was profoundly himself from the beginning until the end. Flawed and damaged and chasing a dream of America that did not exist any longer and chasing the tail of his father.Speaker 2: And he did it honestly, humbly and painfully. And I love him for that. [00:12:30] He never made facades. He never hid. He was profoundly himself till the end. Yeah. What was your favorite of his works? Well, you know, it's funny, I would have, if we had talked a year and a half ago, I would've said Barry Child, because I have, I have loved that place since I read it 1978 and didn't know what the heck to make of it. And I kept reading and reading and I finally directed it and I thought, oh my gosh, it's like king lear. It's like you could direct it five times. Yeah. [00:13:00] Just start to, to grasp the, the depths of the meaning of that play. But I did full for love last year and I have to say, Lisa, it was like working on a Beckett play. When you work on Beckett, you think you know a little something and then you get in rehearsal and you realize you know nothing.Speaker 2: And every day it's like an archaeological dig and you learn a little more and you make a discovery and that leads to 17 other big deep questions. Working [00:13:30] on fool for love was one of the joys of my life because it was also, I mean, Sam never shied away from taboo. Right. So it's a love story about siblings and um, see this is where I see the Falkner connection. Yeah. Because the more you read say an Absalom, Absalom, you know, it's about incessant and family. It's about miscegenation. I mean it's about all these things and every time you read it you see something else, [00:14:00] a real artist. That's what you feel when you read it. It's new every time. Every time, every 10, it will be a new play. I really do feel like fool and berry child and true west, if there's a bottle that gets dug up centuries from now, those are going to be in it.Speaker 2: I mean, they're going to talk about who this country was and what, what our goals were, what our aims were and how broken hearted and yet undaunted the human American [00:14:30] spirit thing is. He got to appreciate the world's appreciation of him pretty early on. Like you say, when you met him, you sensed the honesty and the appreciation. He was one of the shyest people I'd ever met for him to do an interview for me to convince him to do an interview with Rob Harwood at the SF chronicle. I had to agree to come and sit with him and he, he detested post show talk backs. [00:15:00] He didn't want to talk about the work. He didn't, you know, if you asked him what is it about, he would say, Oh, if I knew I wouldn't have to. Right. And so he, he was uncomfortable in a way with the kind of fame, but I, you know, like [inaudible] I think he appreciated, the thing is he got that Pulitzer early, that was 79 for a play he wrote in 78 and [00:15:30] I think, you know, it's funny because he said to me once, I don't know what all the fuss is about those plays, they're just plays.Speaker 2: I wrote when I was a kid, you know, [inaudible] you know, but, but that wasn't him being self-deprecating. That's really what's really lad. And I mean he was so comfortable in his skin as a human being and as a male. But as a, as an actor, as a, as someone who was famous, I never saw him and joy that in the way [00:16:00] I did. Interesting that he moved easily between his literature and film and his acting and acting. You know, that's not easy for a lot of people to go in between those. I know. And, and it's interesting because he was up for an academy award the same year that he won the Pulitzer. And I think that the acting informed the writing and the writing informed the acting. And that's the thing about the writing. There's [00:16:30] not an extra syllable. I mean there just really isn't. And he wrote Paris, Texas and many other Oh, absolutely.Speaker 2: Films. So he really knew both sides of the camera. And I have to say the pros, his five collections of pros, um, motel chronicles and, and cruising paradise and dad of days and, and great dreams of heaven. Those, we would read them every day. Every time I was in rehearsal for live the mind for Barry Child for fool, for love, [00:17:00] for a big Sam Festival we did on a 70th birthday, we would start every day by opening the books and reading his prose, short little pieces that were all about this country and they are magnificent and a completely different discipline. That's one of the hardest, you know, that's one of the hardest short stigma. And I think, I think if there was one thing he wouldn't mind me saying is that he wanted [00:17:30] to crack the long form novel and he felt like he never did. He wanted to write something that was longer form and it just kicked his booty.Speaker 2: You know? And, and he talked about that several times with this before or after he had written the, the, the novel, the fictional, the novel, the, I'm one inside, and I haven't read this by the first person, but, or spy of the first person. But the one inside is like a little novella. It's, it's [00:18:00] naked. It is so unbelievably transparent about him and his dad, him and his dad, him and his women, him and his drinking. Maybe our listeners don't know about his relationship with his father. Maybe you can tell it was, um, I learned part of this from Sam. The last time I saw him. I didn't know that his dad was a Fulbright scholar. He told me his dad was a, was an absolute learn it man. And [00:18:30] he knew he was a bomber pilot. He went to war and he came back and, um, he, he was lost it to his dad and it really destroyed him.Speaker 2: Sam's, you know, his family was, you know, his mom was a rock and his, you know, his home was full of violence and alcoholism. His Dad, I mean, if, you know, lie of the mind, you know, it's a pretty, pretty, uh, close to Real, you know, [00:19:00] portrayal of how his dad died in the middle of a highway, run down drunk. And, um, and Sam will talk about it, you know, um, in, in, uh, in a variety of ways. But I think that his dad's heart ache and his dad's being destroyed and, and that being present in his household. I mean, Sam writes about finance and m knows it firsthand and I think that he wanted more time [00:19:30] with his dad. His Dad was a man of very few words and I think that Sam spent his entire life trying to figure him out.Speaker 4: Yeah. I grew up in this, this World War Two world where the women were continually trying to heal up the man, you know, and, and suffering horribly behind it. Now, I don't know why that came about, but I have a strong thing that had to do with World War II. These men returned from this sheer ROIC [00:20:00] victory of one kind or another, and entered this Eisenhower age and were devastated in some basic way. You know, I mean, almost all those men that, uh, that, that were of my father's generation seemed like they were devastated in a way that, that it's mysterious still and the women didn't understand it and the men didn't understand it. So the, the, the, uh, the medicine was booze for the most part. Boots. It suddenly occurred [00:20:30] to me that I was maybe avoiding a territory that I needed to investigate, which is a family and add voided for, for quite a while. Because to me it was, it was, it was a danger in, in, I was a little afraid of it, you know, particularly around my own man and all of that emotional territory. You know, I w I didn't really want to tip toe in there and then I said, well, maybe a better,Speaker 2: and he, he also [00:21:00] wrote about how you really never escape the past, the history. No, and I think that, you know, sometimes people think about him and his images stick dialogue, which is absolutely unparalleled. But for me, in all of these mediums, Sam is digging up our primordial pasts. He knows that you can't take a step forward without the ghosts of what came before. And he knew that as a young writer [00:21:30] and he never forgot it.Speaker 4: I do honor the ones that have come before me, you know? I mean, you know, it's ridiculous to think that you're, uh, you're, you're, you were born out of thin air. There's, there's, there's things that, uh, there's ancestors, you know, and uh, if you don't honor your ancestors in the real sense, [00:22:00] you, uh, you're committing a kind of suicide. Yeah.Speaker 2: Do you have a story that you can tell us about you and Sam that you wouldn't mind sharing maybe no one else in the world knows about? I'll tell you two things. One is that I had loved his writing for so long and when we finally met, I picked him up at the cleft. It's funny because I got him this beautiful sweet that was basically like an apartment [00:22:30] with views, almost three 60 of the city at the top of the cliff hotel. And I picked him up there and met him in the lobby and I was taking him to see a show and we would then spend almost a week together and get to know each other. But I was so nervous and he was nervous. He said he, he's, he was late and he said, I got in the elevator and I just couldn't figure out all those buttons.Speaker 2: And he said, next time I do not want to be in a fancy hotel, I want [00:23:00] to put me up in a Ho motel, right by the water, by the magic or just on the other side. And I was so nervous, Lisa driving him that I turned the wrong way on Franklin. I've been driving on Frank Lennon golf since I moved here. I knew one goes north and one goes south. I turned onto oncoming traffic. I was just beside myself. I was so nervous. There was no one in my life that I would have been more nervous about meeting. [00:23:30] And you know, we hung out in the theater and just talked and talked one day and I'll tell you, I just, I grew to love him and, and he, the thing about him is he was just profoundly real and he wanted to make sure I was too.Speaker 2: And so one time in New York I met him and I was supposed to go to a matinee and he just, we were supposed to have a quick tea. We ended up having lunch and just, and I asked him about Joe Chaikin and he started to talk about [00:24:00] making tongues and savage lab, which made it at the magic and with Joe and Lisa, his eyes brimmed with tears talking about how humbled he was to be in a room with Joe, let alone making something with Joe. And if you read their letters back and forth, you know, they had an extraordinary relationship. Betty talked about that time and then he, he started [00:24:30] talking about back at any, started reciting back at just off the, I mean off the cuff. And I was sitting there listening to his stories and I just, I thought, I don't ever want to get up. Like I just don't want to leave him. He loved making theater so much and he remained in awe of the masters and in awe of all those Irish cats. And [00:25:00] um, but him reciting back at that was, that was a highlight for me. Yeah, that's pretty great.Speaker 4: It's very interesting to me, aloneness. Very interesting. Because it's always this balance between aloneness and being a part of a community or a part of, you know, it's always been interesting from the very start is this exile. That's what Beckett is so powerful. I said, [00:25:30] you know, he's bad. It's all about Exxon. It's about banishment about being cut away. Uh, and then at the same time having to take part in it.Speaker 2: Since he had kind of a, well, he had a bad relationship with his father. Was he able to bridge that and get past that and have a good relationship with his own kids? I wish that I could speak to that personally. What I'll tell you is, man, he loved Jesse and Jesse loves him and I know all of his kids, [00:26:00] Anna and Walker. I mean they were there the whole time. And, and what I know is Sam speaking of them and he often said, it's, it's a wonder that Jessica and I turned out to have the greatest, most sane human beings ever and a miracle that Jesse is as extraordinary a man and father as he is. And Sam once said to me that just hearing the sound of his daughter's voice set him right every time. So I know, I mean, I [00:26:30] think that he was just, that he was mythic, that he was interested in things larger, you know, than a kitchen table story.Speaker 2: And I think, um, the size of him, the size of his is gonna live on. And I think that people are going to, when they think about the American spirit, I really do think they're going to call upon his, his Canon of work, which is unparalleled. Again, 55 plays five collections of prose. And he played [00:27:00] over 50 roles on film. Yeah, I mean it's just, there hasn't been an artist like him and I, I really don't think there'll be one. Again, are you going to be doing anything coming up? We're going to do something at the very end of the season to commemorate him. Mike, a big Rawkus memorial and when you say end of the season, but it would be in May. And then we're going to set an annual celebration of Sam on his birthday at the magic every November [00:27:30] 5th, and we're hoping it'll be like Bloom's day. Like everybody getting together to read Joyce on, uh, on Bloom's Day. We want to get together and just have a community where people just pick up Sam's work and read it aloud and that every year we can hear his words hit the air and be reminded of their power. Loretta, it's so great to talk to you about Sam Shepherd. Thank you so much for coming on method to the madness. You are so welcome.Speaker 5: When you die,Speaker 2: [00:28:00] go straight to heaven or hell.Speaker 5: When you die,Speaker 2: disintegrate into energy.Speaker 5: When you die, who are reborn into another body. When you die, you turn dished. When you die, you travel to other [inaudible]Speaker 2: planets.Speaker 5: When you die,Speaker 2: you get to start all over.Speaker 5: When [00:28:30] you die, get marked in the book. When you dry,Speaker 2: rejoined with your ancestors.Speaker 5: Where'd you die?Speaker 2: Oh, your dreams will come true.Speaker 5: When you die,Speaker 2: you speak to the angels.Speaker 5: When you die, he'll get what you deserve when [00:29:00] you die. It'sSpeaker 2: absolutely the finalSpeaker 5: when you die and never come back. When you die, you die forever. When you die,Speaker 2: it's the end of your life. You've been listening to method to the madness. A public affairs show on k a [00:29:30] l x Berkeley Celebrating Bay area innovators today show was all about Sam Shepherd. You can find all of our podcasts on iTunes university. We'll seeSpeaker 6: you in two weeks. [00:30:00] [inaudible]. See acast.com/privacy for privacy and opt-out information.

KSKA: Tuesday, June 27, at 2:00 p.m. The Right to Be Cold is a human story of resilience, commitment, and survival told from the unique vantage point of an Inuk woman who, in spite of many obstacles, rose from humble beginnings in the Arctic community of Kuujjuaq, Quebec. LISTEN HERE

KSKA: Tuesday, June 27, at 2:00 p.m. The Right to Be Cold is a human story of resilience, commitment, and survival told from the unique vantage point of an Inuk woman who, in spite of many obstacles, rose from humble beginnings in the Arctic community of Kuujjuaq, Quebec. LISTEN HERE