Podcasts about Benchley

This week on Monster Madness, we're sinking our teeth into the ultimate summer blockbuster—Jaws (1975)! Music: Aiden Hatfield - This Is Heavier Than I ThoughtElevate Audio - HeadshotSocial Media:Bluesky: @monstermadness@bsky.socialInstagram: @monstermadnesspodDiscord: https://discord.gg/PCP2ZmyWPETwitch: https://www.twitch.tv/monstermadnesspodFacebook: https://www.facebook.com/monstermadnesspodYouTube: https://www.youtube.com/@monstermadnesspodWant to email us? Hit us up at: MonsterMadnessPodcast@gmail.comMerch:Teepublic: http://tee.pub/lic/zpJgzEGy3QAWant to support the show?Ko-Fi: https://ko-fi.com/monstermadnesspodPatreon: https://www.patreon.com/monstermadnessArtwork:Original logo and banner by Ian Gray Illustrations by Phil RoodCheck out his website: philrood.comHis Ko-fi shop: https://ko-fi.com/philroodHis podcast The Picture Show!: https://podcasts.apple.com/us/podcast/the-picture-show-with-austin-and-phil-rood/id1523101342Listener Advisory by Jackie SauerFind Jack's work here:Instagram: @jadedvaderhttps://www.thelastofuspodcast.com/Sources:https://www.imdb.com/title/tt0073195/Benchley, Peter. Jaws. Doubleday, 1974.Become a supporter of this podcast: https://www.spreaker.com/podcast/monster-madness--4303842/support.

Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.

Rob Benchley at Sankaty Head Lighthouse, photo by Jeremy D'Entremont This is re-edited version of an interview with Rob Benchley first heard in episode 81 in September 2020. Rob is the volunteer modern day keeper of Sankaty Head Lighthouse in the Sconset village on Nantucket in Massachusetts. He's also an accomplished photojournalist who has been the staff photographer for three island newspapers, and his photography has been featured in the New York Times and the Boston Globe. Rob was one of the first people on the scene when Great Point Lighthouse on Nantucket was toppled by a storm in March 1984. He has written or co-written several books including Keeping the Light, about the historic move of Sankaty Head Lighthouse back from the edge of an eroding bluff in 2007.  Rob and his wife Carol, a retired Nantucket school teacher, live in a house they built together in ‘Sconset.

Rexall Hollywood Revue - 1944-11-04 (04) - Dr. Benchley, Tree Surgeon

Introduction Revelation 2:1-7 Casually stray to a different authority Give up hope and optimism

Introduction Jeremiah 35:5-10, 16 – God is having Jeremiah set up a lesson. The Rechabites carried out the legacy of their father. They…

Send us a Text Message.Fifty years ago, a human vs. beast thriller set in a summer beach town was published and devoured by readers. That book was Jaws, a best-selling novel that spawned a blockbuster movie the following year. Between the book and the film, we were all afraid to go back in the water. Peter Benchley, an established journalist and speechwriter, was instantly catapulted to fame as an author. Getting to that point took moxie! In this Moxie by Proxy episode, we talk with Nat Benchley, Peter's brother. Through Nat, we learn more about Peter's writing and how he often took a true story or incident and asked the question, “What if…?” An article that Peter carried in his wallet about a shark caught off Montauk became the launching point for Jaws. Having lived on Nantucket in his youth, Peter understood the tensions between the summer population and the year-rounders and the dependence of a small beach town on the income they make during the summer months. These social and economic dynamics form the backdrop to the drama unfolding on the water.The impact of Jaws, both book and movie, was a tidal wave of aggression against, and misunderstandings about, sharks. In the wake of that unfortunate outbreak, Peter and his wife Wendy began a lifelong crusade to educate about sharks and advocate for policies that protect them. Wendy Benchley continues that work today. Once educated about the fascinating world of sharks, Peter declared he could never again write a tale that villainized those magnificent creatures. He spent the rest of his life advocating for the protection and preservation of the species.To understand Peter's creative moxie, Nat delves into the Benchley family. Nat recounts stories of their grandfather, Robert Benchley, humorist, writer, actor, and member of the famed Algonquin Round Table; his father, Nathaniel Benchley, author of numerous books and articles, including The Off-Islanders, which became the movie “The Russians Are Coming, the Russians Are Coming!;” Peter as a journalist, author, and ocean advocate; and himself as a writer, actor, and performer. The intergenerational creative moxie running through the Benchley family is solid and enduring. This Main Street Moxie episode is proudly sponsored by Scenic Hudson and Thorunn Designs.ResourcesPeter Benchley websiteWendy Benchley websiteOblong Books: JawsAlgonquin Hotel: Algonquin RoundtableRobert_Benchley WikipediaNathaniel Benchley WikipediaNat Benchley WikipediaNat Benchley website Support the Show.

It's finally time to cover the adaptation that inspired this show! Set sail on the Orca with Emma and Marn for a nearly two-hour discussion about the beast known as Jaws. Bridge the brief gap between Benchley's 1974 hit novel and Spielberg's inaugural summer blockbuster in 1975 with these two podcasters as Marn lets Emma gush about real-life shark footage, Hooper's affair with Brody's wife, and mafia subplots.   Content warnings for Jaws include: graphic shark attacks, child death, graphic descriptions of sharks being killed, infidelity, mentions of rape and rape fantasy, 70's-pulp typical nudity and horniness, and insufferable rich scientists.   The extra book Emma read for this episode is The Jaws Log by Carl Gottlieb. Emma read the 25th anniversary edition with introduction by Peter Benchley.   You can find Emma on twitter @ematsca and the show @UnselectPod. Marn can be found on most social media @corpserevivers. The web serial she writes with her wife can be found at https://prairiesongserial.com/ Unnatural Selection is a part of the Moonshot Podcast Network. If you like what you've heard from either Emma, Marn, or the myriad shows they make together, you can become a patron at patreon.com/moonshotnetwork The music for this show was commissioned from and composed by Jake Loranger. You can check out more of his work at https://amaranthine.bandcamp.com/

In this episode, we welcome cinematographer Christopher Ross, BSC. Chris has worked on critically-acclaimed series including “Shōgun,” “Top Boy” and “Trust” as well as films such as Yesterday, The Great Escaper, Eden Lake, and Room. In our chat, we hear his backstory, how he started in the industry, and about his process prepping and shooting various projects. Chris also takes us behind-the-scenes of “Shōgun” — sharing the techniques and technologies used to create this epic show. The Making Of is presented by AJA Video Systems:Meet AJA Ki Pro GO2Easily record up to four channels of simultaneous HEVC or AVC to cost-efficient USB drives and/or network storage with flexible connectivity, including four 3G-SDI and four HDMI digital video inputs, to connect to a wide range of video sources. Find out more: here From our Friends at Videoguys…Ninja your iPhone 15 Pro or Pro Max into a 1600nit, 10-bit, 2,000,000:1 contrast ratio, 460ppi, HDR OLED, ProRes monitor-recorder for any pro HDMI camera. Attach the Ninja Phone to your iPhone 15 Pro or Pro Max, plug in an HDMI-equipped camera, and you've got the best display on the planet with fast, low-latency connectivity.Take a look here“I of The Lens” Photo Exhibit At Euro Cine Expo 2024 in MunichA unique exhibit showcasing the external and internal expression of a cinematographer.IMAGO Camera, the world's only analogue, large format camera designed for life-sized, self-portraits, captivated audiences with an extraordinary exhibition featuring stunning black and white portraits of cinematographers from across the globe. This collection, curated by Vika Safrigina, producer and Susanna Kraus, the visionary artist behind IMAGO Camera, is on display at the Euro Cine Expo in Munich, June 27-29.The IMAGO Camera is a true interactive object d'art and transcends traditional photography by allowing cinematographers to step into the spotlight and become authors of their own images. This unique walk-in camera was invented by the physicist Werner Kraus and artist Erhard Hoesle in 1972 in Munich, 20 years before the IMAGO federation was founded. As photographer and subject converge, each sitter transforms into the artist behind the lens, creating captivating self-portraits that reveal a unique perspective of themselves.In partnership with IMAGO — International Federation of Cinematographers' Diversity and Inclusion Committee, SUMOLIGHT lighting solutions, and Leitz Cine, the exhibition aims to celebrate the diversity of filmmakers who breathe life into the grand canvas of the movie screen.Learn more here Explore ZEISS' Nano Prime Lenses ZEISS Nano Primes are the first high-speed (T1.5 throughout) cine lenses made specifically for mirrorless full frame cameras – initially available with Sony E-mount. These primes offer a pleasing, versatile look that is adaptable for an extensive range of shooting situations and a compact, lightweight design that makes them easy to use on any set or location. Available in six focal lengths (18mm, 24mm, 35mm, 50mm, 75mm, 100mm), this matched set conveniently covers wide-angle to telephoto.Thanks to the integrated electronic interface, metadata such as focal length, focus distance and aperture value are transmitted to the camera in real time. Additional lens data for distortion and vignetting is available in the ZEISS CinCraft ecosystem and thus for post-production (CinCraft Mapper) as well as in the recently introduced CinCraft Scenario camera tracking system. Adding to their versatility, Nano Primes are ready for the simple exchange of additional mounts thanks to the proven ZEISS IMS (Interchangeable Mount System). Learn more hereTips from theC47:Beach Read:The JAWS LogWinner of three Oscars and the highest-grossing film of its time, Jaws was a phenomenon, and this is the only book on how twenty-six-year-old Steven Spielberg transformed Peter Benchley's number-one bestselling novel into the classic film it became.Hired by Spielberg as a screenwriter to work with him on the set while the movie was being made, Carl Gottlieb, an actor and writer, was there throughout the production that starred Roy Scheider, Robert Shaw, and Richard Dreyfuss. After filming was over, with Spielberg's cooperation, Gottlieb chronicled the extraordinary yearlong adventure in The Jaws Log, which was first published in 1975 and has sold more than two million copies. This expanded edition includes a photo section, an introduction by Benchley, and an afterword by Gottlieb that gives updates about the people and events involved in the film, ultimately providing a singular portrait of a famous movie and inspired moviemaking.Get yours herePodcast Rewind:June 2024 - Ep. 36…The Making Of is published by Michael Valinsky.To advertise your products or services to over 30,000 filmmakers and industry pros reading this newsletter, please email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Follow the homies Cam (Cameron Cox) and Dylan (Dylan Hernandez) two former AMC Theater employees as they take a nostalgic trip back in time to rewatch films that mean the most to them! This episode we decided to discuss the most influential Horror Epics of all time, "Jaws". Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.Wanna ask us something?!? Hit us up at Xtrabutta@gmail.com or our Instagram https://instagram.com/xtrabuttapodcast?igshid=YmMyMTA2M2Y= ALSO Follow the homie Dylan and Steven on their fantastic Podcast "The Talk No Justsu Podcast" https://open.spotify.com/episode/05FUyTQLzBHBjGA8EIAjRB?si=b3CkutraR-Wjj5Cr1GI0FQ

Il cult di Steven Spielberg del 1975 è al centro di una puntata speciale, che insieme a Francesco Martinelli ed Emilio Silvestri, autori e host di "Miti da sfatare” indaga sulla psicosi collettiva che il film ha scatenato nei confronti degli squali. Tratto da un romanzo di Benchley: uno squalo semina il panico sulle spiagge di una cittadina americana e uno scienziato, un pescatore e lo sceriffo locale si impegnano per eliminare il mostro.See omnystudio.com/listener for privacy information.

What is the good news (the gospel)? God authorizes local churches to teach the gospel. Let's make sure Benchley continues to teach the…

**THIS EPISODE CONTAINS FULLS SPOILERS** Another special guest episode is hittin' the air WAVES! Listeners, please give a warm welcome to Laura's cousin, Frank Anderson, as he joins us for Film Is Lit's coverage of JAWS (Benchley, 1974/ Spielberg, 1975)!!! Another installation of our Summer Blockbuster series, this is one of the classics of cinema. Slide on your Sperrys and knit caps and join us for a riveting comparison of the novel and movie as well as a conversation on Spielberg's enduring influence on film and television history. #JAWS #StevenSpielberg #PeterBenchley #JohnWilliams #RichardDreyfuss #RoyScheider #RobertShaw #MurrayHamilton #LorraineGary #Shark #SharkWeek #SharkAttack #CarlGottlieb #FilmisLit #FilmisLitPodcast #FilmiLitPod #movieadaptation #Amity #moviereviewpodcast #bookreviewpodcast #bookworm #cinephile #LauraSielingGaylord #DannyGaylord #FrankAnderson #TheRevisiters

There's a fin in the water and fun in the air! From Jaws, Peter Benchley's incredibly popular 1974 novel, to Jaws, Steven Spielberg's even more popular 1975 film, Lizzy and Nate sink their teeth into the adaptation, rip into the differences, and digest the repercussions of both on the future of cinema and entertainment. Armed with the fleshed out story in the book, their discussion undulates between Ellen's pearl necklace to screenwriter Carl Gottlieb's tell-all book to Mayor Vaughn's re-election and appearance as mayor in Jaws 2. Actually, strike that last point--even the fearsome Hate Expectations crew can't figure that one out.

Goodevening, please take a seat and share my fire. Join your ol' friend 'Digger' for another session of tales of the macabre to chill your very soul. Remember, that constant dripping you hear coming from the bathroom each night may not be the leaky faucet you have accepted it to be, but rather the blood you imagine it to be. In tonight's twisted tales to terrorise you will hear stories of murder, revenge and Insanity. Enjoy as each week at the stroke of midnight, Friday night Western Australia time, 'Digger' brings you more tales of terror on The Midnight Hour. Tune in at iplradio.org.au or via the iHeartRADIO and Radio Garden apps, for the unedited broadcasts of The Midnight Hour. Broadcasting blood curdling stories to the USA, Canada, UK, New Zealand and Australia.

We are excited to welcome Tamara Weiss, and Amanda Benchley who are the authors of Vineyard Folk to The Style That Binds Us podcast. I met Tamara and Amanda when I went to their book talk at The Corner Bookstore and immediately knew we should have them on the podcast. I have so enjoyed reading this book! We can't wait to hear all about their book that celebrates the creatives who call Martha's Vineyard home. Thank you for being here! Vineyard Folk: https://rstyle.me/+a4iU53bItCUdSEGzezIEsA Our Shoes, Our Selves: https://rstyle.me/+IeY9W9uXT1Iv3uXcV0epQw Born Into The Gig film Tamara's Cookbook: https://rstyle.me/+4rf29WXpq_hnmemTzmlj-Q Boys in the trees memoir: https://rstyle.me/+fKCzrlJITFk_qyewbum_pw  Artist Living with Art book: https://rstyle.me/+Oq9F6v9LqC86Jf8jlFunFg --- Send in a voice message: https://podcasters.spotify.com/pod/show/delia-folk8/message Support this podcast: https://podcasters.spotify.com/pod/show/delia-folk8/support

Fear is still by far the most powerful motivator of human beings. Steve Sipress, entrepreneur, marketing, advertising, sales, tips, ideas, help, strategy, small business owner, direct response, tactics, success, profits, growth, results, marketing consultant, Jaws, Spielberg, movie, novel, Benchley, fear, motivator, motivation, pain, pleasure, advertising,

Rexall Hollywood Revue - 1944-10-29 (01) - Mailman Benchley Delivers the Gas Bill

This week we watched the CLASSIC film Jaws from 1975! J-8/10 M-8/10 For daily horror movie content follow the podcast on Twitter / Instagram @grindhausmc Each week we choose a movie from one of the horror genre to discuss the following week. Follow along each week by keeping up with the movies we are watching to stay in the loop with the movie club! Check out other podcasts, coffee and pins at www.darkroastcult.com ! THANKS TO ANDREW FOR MAKING THE INTRO SONG. (soundcloud.com / andoryukesuta)@andoryukesuta It's a hot summer on Amity Island, a small community whose main business is its beaches. When new Sheriff Martin Brody discovers the remains of a shark attack victim, his first inclination is to close the beaches to swimmers. This doesn't sit well with Mayor Larry Vaughn and several of the local businessmen. Brody backs down to his regret as that weekend a young boy is killed by the predator. The dead boy's mother puts out a bounty on the shark and Amity is soon swamped with amateur hunters and fisherman hoping to cash in on the reward. A local fisherman with much experience hunting sharks, Quint, offers to hunt down the creature for a hefty fee. Soon Quint, Brody and Matt Hooper from the Oceanographic Institute are at sea hunting the Great White shark. As Brody succinctly surmises after their first encounter with the creature, they're going to need a bigger boat. Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography. Shot mostly on location at Martha's Vineyard in Massachusetts, Jaws was the first major motion picture to be shot on the ocean and consequently had a troubled production, going over budget and schedule. As the art department's mechanical sharks often malfunctioned, Spielberg decided mostly to suggest the shark's presence, employing an ominous and minimalist theme created by composer John Williams to indicate its impending appearances. Spielberg and others have compared this suggestive approach to that of director Alfred Hitchcock. Universal Pictures' release of the film to over 450 screens was an exceptionally wide release for a major studio picture at the time, and it was accompanied by an extensive marketing campaign that heavily emphasized television spots and tie-in merchandise. Regarded as a watershed moment in motion picture history, Jaws was the prototypical summer blockbuster, and won several awards for its music and editing. It was the highest-grossing film of all time until the release of Star Wars two years later; both films were pivotal in establishing the modern Hollywood business model, which pursues high box-office returns from action and adventure films with simple high-concept premises, released during the summer in thousands of theaters and advertised heavily. Jaws was followed by three sequels (none of which involved Spielberg or Benchley) and many imitative thrillers, and in 2001, the Library of Congress selected it for preservation in the United States National Film Registry.

This week on the blog, a podcast interview with Noah Diamond and Jim Cunningham, talking about the pleasures and perils of playing Groucho Marx.LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Noah Diamond website: https://www.noahdiamond.com/“Gimme a Thrill: The Story Of "I'll Say She Is," The Lost Marx Brothers Musical” -- https://tinyurl.com/28ftau5eEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***Noah Diamond Transcript JOHNLet's go back to the beginning. We'll start with Noah and then go to Jim. What's your earliest memory of Groucho Marx or the Marx Brothers? NOAHWell, for me, it started in a kind of roundabout way, when I was a very little kid. Before I could even read, I was really interested in books. And I had my collection of Dr. Seuss, and all the books that would be read to me. But what I really liked to do was go downstairs where my parents had, in the living room, bookshelves lining the walls. And their books were really interesting to me. I just knew there were secrets there, you know? They had like big art books and books of poetry and maybe my first experiences with words were looking at the spines of the books in the living room. And one of the books they happen to have was then fairly recent book, Joe Adamson's Groucho, Harpo, Chico and Sometimes Zeppo, which is, I think most Marx Brothers fans would say it's the best loved book about them, certainly and I think the best written. That book came out in 1973. So, it's 50 years old this year and for some reason, as a tiny kid, that was a book that I took off the shelf. It was interesting that it had silver lettering on the spine and little icons, a harp, and what I would come later to recognize as a Chico hat. “Oh, look, this is interesting.” And I started looking through it, and I saw all these pictures. And the photographs of the Marx Brothers were just something to grapple with and it seemed a little familiar to me. My world was the Muppets and Dr. Seuss and Maurice Sendak. The Marx Brothers appeared in these photographs, like there was some continuity there and I also found them a little scary. Groucho in particular, that's quite a face for a child to reckon with. So, that was a book that I looked at a lot when I was just little more than a baby. I wouldn't really see the Marx Brothers in their movies until I was 12. Partly that's because, I'm just old enough to have had a childhood where it wasn't so easy to find old movies. And I sort of had to wait for home video to come along. And when it first came along, it's not like all 13 Marx brothers' movies were at the local Blockbuster.It was that that journey, that constant searching for things that characterized life in the analog world. So, it was very gradual in between those two times.Rather than blow your whole episode on this answer: in between the very little boy looking at pictures in Joe Adamson's book, and the 12-year-old finally, like seeing Duck Soup, and a Night at the Opera on video, there were many years where the Marx Brothers always seemed to be right around the corner. I would encounter them in Mad Magazine, or adults I knew might refer to them. And I sort of came to understand that the nose and moustache and glasses had something to do with Groucho. I was aware of them as a kind of vapor increasingly during those, I guess, nine or ten years between discovering the book and seeing the films. JOHNJim, how about you? Where did you first encounter them? JIM I was an enormous and still am a Laurel and Hardy fan. There was a local television show here in the Twin Cities where I live on Sunday mornings, hosted by a former television child's television host named John Gallos who played Clancy the Cop. And so I came to the Marx Brothers, kind of grudgingly because I was such an enormous and still am Laurel and Hardy fan, that I poo pooed the Marx Brothers for many, many years. I started watching Laurel and Hardy as a little kid. I mean, 7, 8, 9 years old. Every Sunday morning, I would rush home from church and plop down in front of the TV to watch Laurel and Hardy. They were sort of my comedic touchstones, if you will. And then the Marx Brothers were kind of off to the side for me. And I went to the Uptown Theater, John, here in the Minneapolis area … JOHN You crossed the river from St. Paul and came to Minneapolis, you must have really been interested. JIMOh, I only go across the river for work. This was a point where I was not working yet. And I saw a Night at the Opera and you know, was convulsed and then devoured everything I could get my hands on after that. The Marx Brothers were eye opening for me, just in terms of oh my gosh, this whole thing is so different. I was reading in your book that Frank Ferrante said “I was raised by Catholic nuns and I wanted to sort of do to the Catholic nuns would Groucho would do to Margaret Dumont.” And I was like, well, that's exactly right. Because I too was raised by Catholic nuns, and that sort of energy was really attractive to me as a sophomore in high school. And so I fell in love with them. And then, you know, anything I could get my hands on, I watched and read and loved them to this day. I still love Laurel and Hardy quite a bit too. JOHNOkay. Noah, this is just my own experience and I'm wondering if you guys have had the same thing: that entering the world of the Marx Brothers was actually a gateway to a whole bunch of other interesting stuff. I mean, you get into the Algonquin table, you get Benchley, and Perlman and into other plays of Kaufman. And you know, you're reading Moss Hart, and all sudden you look at the New Yorker, because, you know, he was there. I mean, did you find that it sort of was a spider web? NOAH No doubt about it. Yeah, that's very true. It's learning about them biographically and the times they lived in, the circles they traveled in; and partly it's in order to understand the references in their films. That's one of the great things about sophisticated verbal comedy: it's an education, and particularly if you're a kid. So, yes, through comedy and show business in general and the Marx Brothers in particular, I learned, I hesitate to say this, but probably just about everything else I know from following tributaries from the Marx Brothers. JOHNDo you remember the first time you performed as Groucho? NOAHThe first time I played Groucho in front of an audience was in a talent show, a school talent show in, I think seventh grade. I performed with my brother and sister as Harpo and Chico. They're both a little younger than me and by the time we became the Marx Brothers, they were so accustomed to involuntary service in my stock company. They were veterans by that time, they had done living room productions of Fiddler on the Roof where they had to play everyone but Tevya. And we did the contract routine from A Night at the Opera, with a little bit of Harpo stuff thrown in. JOHNOkay. Fantastic. Jim, how about you: first time as Groucho in front of an audience? JIM The first time in front of an audience as Groucho was really the first time I played Groucho. Just as I have a deep and abiding love and respect for the art of magic (and want to see it, want to read about it), I don't want to perform it. Because it is a thing in to its unto itself and if you do it poorly, it's horrible. So, I love to see it. I just don't love to perform it. And I felt the same way about Groucho. So, I went kind of kicking and screaming, to a staged reading of The Coconuts that Illusion Theater did. We really just carried our scripts because there was just a couple three rehearsals, but we read the whole thing and sang some of the stuff that was in it. And then that morphed from there into an actual production of The Coconuts and we did it both at the illusion theater in Minneapolis, and then it moved to the Fitzgerald Theater in St. Paul. When the Marx Brothers performed there, I think it was called The World theatre. So, I love that kind of thing. I love standing where Wyatt Earp stood or standing where William Shakespeare stood. And so, to be doing a play that Groucho did on a stage that Groucho did it. I should have gotten out of the business right then. I should have said it, I've done it. What's left? JOHNExcellent stories. Noah, have you ever done The Coconuts or Animal Crackers? NOAHI haven't done The Coconuts. I would love to. Animal Crackers … One of the subsequent childhood Groucho appearances was when I was 14 years old. I had a relationship with this community theater. At this point, I was living in South Florida. I spent the first part of my life in Connecticut, and then lived in South Florida when I was a teenager and New York since I grew up. And this was in the Florida years. There was a local theater in a town called Coral Springs, it's not there anymore, but it was called Opus Playhouse. And it was a great place that helped me a lot and gave me a chance to put on shows and learn how to do things. And I just wanted to do Animal Crackers. So, I did a bootleg production completely unauthorized. I didn't even have the script. I just wrote the movie down line by line to have a script of Animal Crackers. And so I've sort of done it. But you know, I really shouldn't put that on my resume as I was 14 and... JIMIt counts for me. Anybody who's willing, as a 14-year-old, to go line by line through a movie and write it down, you did the show in my book. NOAH That just shows the desperate measures we had to take in those days. There was no internet. Little kids writing down movies, you know? JIM Exactly. JOHNIt's charming. It's absolutely charming. So, what is it Noah that draws you to play Groucho? What is it about that guy? NOAH Yeah, what is it? I know, it's funny. ‘What is it about Groucho' is a question we can grapple with forever, even aside from the question of why try to be him? I think one thing that definitely true is that as soon as I saw the Marx Brothers and heard his voice and watched him moving around and interacting, the urge to be him, or at least to behave like him, was immediate. I mean, it was right there. Now, I was already a kid who was a little ham and a performer and would be inclined to find my role in anything, anyway. But nothing, no character other than myself, ever grabbed me the way Groucho did or ever has, really. And I think part of it is what you mentioned, Jim, that Frank Ferrante has said, part of it is the instinct to rebel against authority. And that's unquestionably part of the Marx Brothers act, and a big part of the Marx Brothers appeal I think to kids. But I think it's a little more like watching a great violin player and deciding you want to play the violin. It just seemed to me that, as far as embodying a character and getting laughs and singing songs, nobody ever did it like him. Nobody ever seemed to be speaking directly to my sense of humor and my sensibility. I just wanted to talk in that voice. I wanted to play that instrument. JOHNJIM, what about you? JIM Nothing. Really, truthfully, I did not want to do it. I still don't want to do it. But I would do it again tomorrow, if somebody asked.I think trying to find your way to entertain an audience through somebody else is tricky for me. I'm better at playing me than I am at playing anybody else. And so the desire to play Groucho, I have sort of put it inside me, and I have an eye on it all the time. I use Groucho's sensibility without the grease paint, and I'd like to believe that I do. I'm certainly not in Groucho's league. Laurence Olivier said it: steal from everybody, and no one will know. And so I have, but the desire to put on the grease paint and wear the frock coat is akin to me saying, I want to do a magic show. I just I love to go to a magic show. I love to watch a Marx Brothers movie. But I'm really kicking and screaming to play him again, because the mantle is so huge and heavy and I don't think that I'm particularly serviceable as GrouchoIt wasn't until we were halfway through the run of The Coconuts when a light bulb went off in the dressing room, while I was putting on the makeup: there's a difference between being faithful to the script of The Coconuts and what we learned, and being faithful to the Marx Brothers sensibilities, if that makes sense. There's the letter of the law versus the spirit of the law.About halfway through that run, I started doing things that I felt were more attune to the spirit of the Marx Brothers, then the letter of the script. So, I was calling other actors onto the stage. I was going out into the audience, I took a guy out and put him in a cab one night. That sort of anarchy that people talk about when you read about the Marx Brothers in their heyday, about Jerry Lewis and Dean Martin in their heyday: I don't know what's going to happen and I want to be there because of that.And for all I know, it was the exact same show night after night after night, and they just gave the impression that it was crazy. But that idea for me still percolates. This the idea of, am I creating a museum piece or am I trying to, in some way, channel that anarchy for an audience? The other show that I do that has some relevance here is we do a production of It's a Wonderful Life, at Christmas time, as a live radio play. And that too: what am I doing? Are we trying to capture the movie or are we creating something different? So, finding that sort of craziness is what I was most intrigued by and still am. NOAH There's not a lot of roles like that. If you're playing one of the Marx Brothers in Coconuts or Animal Crackers, or I'll Say She Is, it's not the same as playing Groucho Marx in a biographical piece about his life. Nor is it like playing Sherlock Holmes, a very familiar character, where there is room to make it your own. I suppose people have done that with Groucho, too. But generally, if you're in a production of one of the Marx Brothers shows, the assignment is to try to make the audience feel like, if they squint, maybe they're watching the Marx Brothers. JOHN Noah, when you tackled the formidable and important task of recreating, resurrecting, bringing back to life, I'll Say She Is, were you having that same sort of thing Jim was talking about? Balancing the reality of what may have happened against you don't really know for sure and the spirit of it? How did you approach it? But first, why did you pick that show? And then how did you bring it back to life? JIMCan I back up? Because the three of us at this table are enormous Marx Brothers fans. So, if you say I'll Say She Is, we have a frame of reference. But people listening to this may go, ‘what the hell is I'll Say She Is?' So, can you start with that? Can you start with what is I'll Say She Is and how did you come to it, because I think for the layman who's not a huge Marx Brothers fan, they don't even know what we're talking about. NOAH Yes, absolutely. In a nutshell, the Marx Brothers, although primarily remembered for their movies, were already halfway through their career by the time they ever made a film. Most of their lives were spent on stage. They had a long period in vaudeville, and then in the 20s, they became Broadway stars. And that was really the beginning of the Marx Brothers as phenomenon we would recognize. They did three Broadway musicals. The first was I'll Say She Is, a thinly plotted revue, and the second was The Coconuts, and the third was Animal Crackers. By the time they were making talkies, they had these two very prestigious vehicles, Coconuts, and Animal Crackers, written by George S. Kaufman and Morrie Riskin, with scores by accomplished composers, Irving Berlin and Kalmer and Ruby. And there was no question but that those would be the first two films.And as a result, I'll Say She Is just kind of faded into history. It was the show they'd never made it into a movie and no script survived or at least no complete, intact script survived. So, if you were a kid like all the Marx maniacs out there, reading every book you can get your hands on and learning everything you could about the Marx Brothers, I'll Say She Is just had a sort of intrigue about it. What was that show? Everyone knew from those books that the highlight of the show was the Napoleon scene in which Groucho played Napoleon and the other brothers played the various consorts of Josephine, who are always materializing every time he turns his back. And that scene was touted as like, that's really the arrival of the Marx Brothers. That was the essence of them, before they ever met George S. Kaufman. It's just such a tantalizing thing if you love them.I think—because I love the theater and I love musical theater—a lot of my other interests are also right in the bullseye of I'll Say She Is: Broadway, New York City history. I'm a big fan of the culture of the Jazz Age in the 1920s. And this was just so appealing to me. So, every time a new book about the Marx Brothers would fall into my hands, the first thing I would do is look up I'll Say She Is in the index and read all the associated stuff first. I just had a little obsession about it. In The Marx Brothers Scrapbook, which is a book I'm sure familiar to both of you and many of the fans, that book reprints the entire opening night program from I'll Say She Is on Broadway. When I was 12 years old, I took that book to the library and photocopied it, and cut out the pages, and made myself a little program so that I could pretend that I had seen I'll Say She Is. Fast forward many years, and I'm an adult doing theater in New York. My wife and collaborator, Amanda Sisk and I were doing political satires, writing these musicals that would be ripped from the headlines. And we did that for a long time before realizing that the time it takes to develop a musical is too long for topical material, so we could never really perfect our work. And we decided to stop doing those shows, which were a bit of a dead end for us creatively. And I found myself after many years of doing one thing trying to figure out, well, what's my thing going to be now?And I think it was probably inevitable that I would just sort of go home to the Marx Brothers. ‘Well, let's do a Marx Brothers show. I haven't done that in a while, you know?' I don't know, it seems a little bit silly to call something so unlikely, inevitable, but I just think I was hurtling toward it from the day I picked up Adamson's book when I was three or four years old. JIM It had to have been both a joyful and frustrating experiences as you tried to recreate something that doesn't exist. The Napoleon sketch: we did a version of that Napoleon sketch. The only line I can remember from that Napoleon sketch was, “I'll be in Paris tomorrow, don't wash.” That's the only line I can remember from the entire show. I think of that. Was it super fun or was it super frustrating? Or was there a combo? What was that like? NOAHIt was fun. I mean, writing is always a combination of both of those things. Stephen Sondheim once called it agonizing fun. That's kind of what almost any writing process is. This one, I wouldn't have taken on the idea of doing I'll Say She Is if enough of it didn't survive and how much of it seemed to have survived. Before my research, I think what I was really thinking is that I would maybe try to write a book about I'll Say She Is, and maybe figure out some way to do the Napoleon scene on stage. But realizing that it could be a show again, that happened kind of slowly as material started to accumulate. Yes, the Napoleon scene has survived and that's been known for a long time. Also, the first scene of I'll Say She Is is one that's familiar to Marx Brothers fans, because it was an old vaudeville piece that they filmed in 1931. The theatrical agency scene. [Audio from the Clip] NOAH So, those are two big pieces of material were a given. And then as for the rest of it, I became aware, by relying on the work of other researchers, that there was a type script I'll Say She Is at the Library of Congress. Also, another slightly different one at the American Musical Theatre Institute run by Miles Kruger. And I was able to get my hands on the type script. Now it is on one hand, it's the script of I'll Say She Is. That isn't quite that what it is, though. It's a 30-page document that they went into rehearsal with. And, you know, going into rehearsal with the Marx Brothers, it's an outline with dialogue. It's what we would now refer to as a treatment. and there is some dialogue in it, some of which is recognizable from later Marx Brothers projects. Some of it is very sketchy. Of course, almost everything Harpo does is merely indicated: stage directions like, Harpo business, or sometimes, business with hat. But this provided something like 20% of the dialogue and the continuity for I'll Say She Is. There were no lyrics in it, but it did specify where the songs would fall. So, my first attempt to write a script for this was a combination of material from that type script and things learned from the playbill, from reading every account of I'll Say She Is I could find in books and interviews. And then I started to search old newspaper archives, which was just getting easier to do at this time. I was embarking on this sort of major I'll Say She Is research period around 2010 and it was just starting to be possible to read decades worth of old newspapers on the internet. It's gotten much easier since then. So, by reading every review I could find FROM every city I'll Say She Is had played in 1923, and 1924, and 1925, I started to realize there's material here. There's reviews that quote dialogue or describe scenes that aren't in the type script and that I didn't know about before and maybe nobody did (unless they've read this copy of the New York Clipper from 1924). And some of the songs from the original I'll Say She Is were published in 1924 and it was fairly easy to get my hands on those. But that represented only about half the score, maybe a third of the score. A number of the original songs remain missing. And of those, I did manage to find a couple. And to fill in the gaps, I found other songs written by the same people. Will Johnstone was the lyricist (Marx Brothers fans will know him as a screenwriter on some of their later films) and his brother Tom Johnstone wrote the music. Well, the Johnstones also wrote six or seven other Broadway shows during the same period. So, I was able to find some of those songs and interpolate them and do a sort of general polish on the lyrics on the surviving lyrics.When I was bringing in other songs, sometimes I would write the lyrics. I know there was a song here, and I know what it was about. So, I'll write a lyric about that and whenever I had to do that kind of thing, where I would invent something to fill a gap, I would always try to do it very conscientiously, by relying on what I knew about the Marx Brothers act up to 1924. And also by immersing myself in Will Johnstone's writing. He's an interesting, very unsung artist too; he was a very prolific newspaper writer and cartoonist and did a little bit of everything. So, by reading everything I could get my hands on by Johnstone, it made it a little easier to write what he would have written for them. JOHNThat's just fascinating. JIM It really is. The whole thing to me is it's so titillating and so exciting that even though I say I never really want to do Groucho ever again, if you said, I'm gonna send you a copy of I'll Say She Is, I produced that. I'd be in that. I put that up right now. NOAHIt could happen, Jim. I think what you said earlier, Jim, about playing Groucho, you feel like there's this mantle of greatness that is, is impossible to live up to. I feel that way too. It is impossible. I mean, playing Groucho on stage, you're kind of making a deal with the audience, like, ‘Hey, we both know, I'm not him. I'm not. Nobody will ever be that good at doing that. But if you'll meet me in the middle, I think I can fool you for a minute.' It becomes a sense of responsibility. And it's the same thing with reviving, I'll Say She Is. If we're gonna put that title on a marquee, and charge people money to see it, boy, this better be the very best we can do. JOHNSo, once you started reconstructing I'll Say She Is, were you always planning on putting it on its feet? NOAH Well, probably, the answer is definitely yes. I think the question is, would I have admitted it to myself early on? I do remember nibbling around the edges of it for a while before looking at squarely in the face and saying, ‘We have to do this.' We have to do this on stage for that very reason: because it is so daunting. It's daunting to produce a big musical, even without all the baggage and the history and responsibility of the Marx Brothers and I'll Say She Is. JIM I looked at the pictures of your production and was flabbergasted at the cast and how big the cast is, and the costumes for the cast. It was like, this is a big deal. NOAH One thing that was very lucky—because of the nature of the project, and because it's so interesting and historical—it attracted a lot of really talented people, all of whom worked for much less than they deserved. We have done it twice at this point: the Fringe Festival production in 2014 was the first, full staging and the book Give Me a Thrill is current through that production. Then in 2016, we did an Off-Broadway production, which was larger and fuller and ran longer and was even more fully realized. There will be a new edition of a book covering that production. But even that is now some years ago.There is in the future, I think for an even bigger, even more 1924-faithful I'll Say She Is. And I also think there may be a lightweight version of I'll Say She Is. I think we may experiment with that, saying, ‘Oh, okay, it's a 1920s revue. It has a line of chorus girls. It's spectacular. But what if we did to it what Marx Brothers fans often want to do to the film's and just boiled it down to just the Marx Brothers gold and do an I'll Say She Is Redux?' There two licensable versions of Animal Crackers. There's a small cast multiple role kind of version, and then there's the big full musical. JOHNIt's like the Teeny Sweeney. The idea of you offering and creating a version that would be a little easier for most theaters to do. I think is really a smart idea. JIMKnowing the Marx Brothers, and knowing Coconuts and Animal Crackers, because of course, they're enshrined in celluloid and we can look at them whenever we want. There's a story to both of those things, loose as it may be. I wouldn't say either The Coconuts or Animal Crackers were a revue. Is the same true of I'll Say She Is? Is it a revue where we're just going from sketch to sketch to sketch or song to song to sketch, and they're not connected by a through line the way Coconuts or Animal Crackers are? NOAHIt's an interesting question and the answer is kind of both. One thing that has happened is I think the word revue is now understood more narrowly than it was in the Marx Brothers day. When we use the word revue now, we generally mean exactly what you're describing: a variety kind of evening, with a series of unrelated sketches or songs. But the truth is in the 1920s, particularly, revues tended to have either thin plots or themes that tied them together. And that's exactly what distinguished a Broadway review or what would have been called rather snootily, a legitimate revue. That's what distinguishes it from vaudeville, which really was one act after another and what the third on the bill does on stage has nothing to do with the content of what was second on the bill. A lot of these Broadway revues, including the Ziegfeld Follies, they would be built on themes or plots. An example would be As Thousands Cheer, Irving Berlin's famous revue. It doesn't have a plot that runs all the way through it, but each piece is based on a news story of the day. It's not just a collection of songs. In the case of I'll Say She Is, it was a thinly plotted revue. And the thin plot is: a bored heiress is looking for thrills. That's the plot. It makes Animal Crackers look very sophisticated. It begins with a breaking news that a society woman craves excitement, she has promised her hand, her heart, and her fortune to whoever can give her the biggest thrill. Very saucy stuff. So, each scene or musical number in the show is vaguely an attempt to give her a thrill. It's kind of like a clothesline. You can hang anything on it. So, the Napoleon's sketch—in the context that was provided for it in 1924—is a fantasy sequence where the ingenue fantasizes that she's in the court of Napoleon. That's the attempt of the hypnotist to give her a thrill. In order to make the show a little more compact and a little more accessible, in my adaptation I did nudge it a little closer to being a book show. I did I strengthen the plot a little bit. I just added some reinforcements, some undergirding to the plot. And some things in the show that weren't connected to the plot, but could have been, I made some little connections there. And also, some of the sequencing was a little perverse in terms of how the evening built. So I thought, with the help of many people who worked on the show with me, but I'll mention Travest-D and Amanda Sisk, who had a lot to do with the development of the script, we figured out that the Napoleon scene really should go at the end of Act One. And the courtroom scene should go at the end of Act Two. And other little concessions like that to make a contemporary audience feel some sense of satisfaction. JOHNYou both do such a nice job of Groucho—even though one of you has to be dragged into it kicking and screaming. What is, from your experience, what is the hardest part of being Groucho on stage? NOAH Well, for me, the most challenging part is the physical performance. That's the part I work on the most. When I see video of myself as Groucho, that's the part—if I notice things to improve on next time—they're usually physical things. I think that may have something to do with my particular skill set. I'm very comfortable vocally. I like my vocal version of Groucho and it sounds the way he sounds to me. I generally feel confident with that, although off nights do happen. But physically, being him physically, partly because he was so verbally overwhelming, we often overlook what an interesting and unusual and brilliant physical performer, Groucho Marx was. I can't think of anyone who moved the way he moved. Both his physical body was unusual, his shape, and the way he—especially in the early films—he like has no gravity. He's sort of weightless.There is a tendency to make him too manic and to try to match his impact by being loud and fast and very abrupt in your movements. Or overly precise. He wasn't that precise, actually. He was pretty sloppy in the way he moved. But there was a grace in all that sloppiness…The difficulty of putting it into words—that you're experiencing with me right now—is part of where the challenge is. There are times when I feel good about the physical performance, and I nail something, a move of his that I've been working on. But I think that's the part that's the most challenging. JOHNOkay, Jim, how about you? What did you find most challenging? JIM You know, what I found most challenging is dealing with the mantle of Groucho. Not just the audience's expectations of what that means, but more problematic, my own belief system, about what I'm capable of, and how far short of what the man was and did on stage my version of him is.So for me, I always had to really kind of get myself ramped up in order to believe that, okay, I'm going to go on, I'm going to do this. And it was a constant battle for me every night before I would go on. Am I capable of this? Is there anything about this that's even moderately entertaining for an audience? And I just couldn't get by that and I still can't, you know, I still can't get that out of my head. Now, I separate that for a second and set it aside with It's a Wonderful Life. I'm very happy with what I've achieved in It's a Wonderful Life. Very happy with, what I've done, me personally, and the show in general. But my performances, I'm very happy and satisfied with them and I'd love to do them and can't wait till December comes around so I can do it again. But the Marx Brothers thing is that there's a fear factor, I guess that I'm going to let him down in some way and I can't help but let him down. There's a certain love and respect I have for him, in the same way that I have love and respect for magic, that I just don't want to be a bad Elvis impersonator. You know what I mean? That's what I don't want to do. There's a big difference between Elvis and the best Elvis impersonator and you can have joy in both. But, you know, Groucho is so far—and nothing against Elvis, please. If you're listening to this podcast, and you think I'm about to diss Elvis, you're right. But I don't mean it that way. There's a vast difference between what Groucho was on screen and what Elvis was on screen. Elvis could sing. Groucho could do anything. And that's the difference, and I can't do anything. I can barely sing. I'm lucky enough to have done it and I'm happy to have done it and when people talk to me about it. ‘Oh, I saw you was Groucho. You were excellent.' And I want to say, ‘Apparently, you don't know the Marx brothers. I wasn't.' NOAH That's a very Groucho response, that hey, you are great in that show, and you have no taste, you know? JIM That's exactly right. JOHNWell, I could do this all night, but we're not going to do that. I want to just wrap up with a couple Speed Round questions, kind of general Marx Brothers questions. Noah, do you have a favorite of the movies? NOAH Animal Crackers, because I think it's the closest we can get to seeing them as a stage act at the peak of their powers. JOHNOkay, do you have a favorite scene? NOAHYes, I feel guilty because my favorite Marx Brothers scene only has one Marx Brothers in it and I I love Harpo and Chico and I even love Zeppo. I have to say that, but my favorite scene is the strange interlude scene in Animal Crackers. [Audio from the Clip] JOHNTo have been there live, to watch him do that, to see him step forward. I would rank that very high for my favorite scene. Jim, do you have a favorite movie and a favorite scene? JIMYeah, I think so. Largely because it was my first experience of the Marx Brothers, nothing for me compares to a Night at the Opera. If I am clicking around and Night at the Opera is on, we stopped clicking and that's what it is. And anybody who is in the house, my wife or the kids, I'm sorry, but you'll either have to find another TV or go out to play, because this is what we're going to be watching for a while And you know the line of Groucho's, what happened? [Audio from the Clip: “Oh, we had an argument, and he pulled a knife on me so I shot him.”]. JIM That right there. When I heard that the first time, I was afraid I'd have to leave the theater. I started laughing so hard, and I couldn't come back from it. It just kept coming to me. I kept thinking of that well past it and was giggling about it and so that whole ‘belly up, put your foot up here.' That whole thing to me is as good as it gets. JOHNOne other little alley, I want to go down. There's another great book and Noah, if I get the title wrong, please correct me. Is it Four of the Three Musketeers? NOAH Yes. JOHNWhich tracks in exhausting detail, every stage appearance of their stage career. As you look through it—we're all getting older, all three guys—you begin to realize the weird gap or you think something was a long time ago and it turns out it wasn't. I was born in 1958 and realized just recently that Abbott and Costello Meet Frankenstein was made a mere 10 years before I was born. The Marx Brothers on stage in the 20s, or late teens and 20s, they're traveling everywhere in the country. They came to Minneapolis a lot. They went to Duluth a lot. And, you know, a mere 40 years before I was born, I could have gone and seen them. So, my question to you guys is: you have a chance to see the Marx Brothers live on stage in that era. What is your pick? What do you go see? You have a time machine. You can go you can go see one thing or two. I'll give you two, because I have two. NOAHWell, I'm glad. I'm glad you're given me two, because the obvious answer is I'll Say She Is and.... JIM That would be my answer too. JOHN Bring your iPhone and hit record. Yeah. NOAH Yeah, right, bootleg it. Nobody knows what an iPhone is anyway. Exactly. JIM And then you just go right back to what you did as a 14-year-old line by line. JOHNOkay. So, your second choice after the obvious, I'll Say She Is? NOAH I guess it would be to see some of the even earlier stuff, satisfying the urge to see them at their best on Broadway. You know, there's a lot of curiosity about the act up really up to 1920. In 1920 or 21, there's a big change. That's when Groucho painted the moustache on and drops the German or sometimes Yiddish accent he had been using before. Harpo and Chico evolved more subtly, but in a sense, they were all playing somewhat different characters in the early vaudeville tabs. So I guess I would want to see Home Again, which was their vaudeville tabloid, that carried them through the World War One years and beyond. JOHNJim? JIMAnything vaudeville. The school sketches that they did. I'd see anything. It wouldn't matter to me. If I could get back there, I'd go every day. John, you and I were talking about Robin Williams and being the greatest improviser of all time, and the quote that you said was, somebody had said, “see the eight o'clock show, then see the 10 o'clock show, and we'll talk.” And to me, that's interesting. I would kill to, you know, follow them on the road, like Bruce Springsteen, and just see how much of it really is the same. In the same way that I'm tickled, when somebody says to me, ‘How much of that did you just make up on the spot?' None of it. Essentially, none of it did I make up on the spot. I'd like to see how much of what they did day to day was exactly the same and how much of it was, ‘today, I'm going to do this for no reason at all' and I'd like to see how much of that is different. JOHNYou know, my two choices kind of fall within that. One is the day that Chico's daughter didn't go to the show, and she came home, and Chico thought she'd gone to it and he said, ‘What did you think?' And she said, ‘What do you mean?' And he said, ‘Harpo and I switched roles.' And I know it's weird: if you had like one chance to go see the Marx Brothers, you're gonna go see them do the role they're supposed to do. But it's just fascinating when you think about it. The other one is when Groucho was sick and Zeppo stepped in and if I'm quoting Susan Marx's book correctly, the reaction was so strong towards what Zeppo did that Groucho got healthy really fast and came back. But Zeppo was really, really good. We do have the agent sketch, so you get a sense of what they were like on stage. You do get that. But the idea of seeing, I can easily see Zeppo doing Groucho. But Chico doing Harpo and vice versa? I realize that if I have a time machine, I should go back and do something more helpful for the world. But at that same time, I want to stop by and see that one show where they switched. JIM That you'll do that on your lunch break. While you're stopping World War Two, on the way home, swing by and see that show. You've earned it. NOAH That's a good answer. JOHNYeah. Noah, thank you so much for chatting with us. JIM Just a delight. Thank you so much. I had a great time talking to you. NOAHIt's been a pleasure, fellas. Thank you for having me on.

Excerpt of the 12 Jan 1943 Al Jolson Colgate Program. Humorist Robert Benchley joined Al Jolson on this program, along with the regulars. Here is some of the comedy routine between Benchley and Jolson, followed by Benchley's introduction of Jolson's classic hit, "Sonny Boy." The complete program includes more Benchley, Parkyarkarkus, and Carol Bruce, with much more material. The complete broadcast recording, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.

Close out the summer with the AMPM VIDEO crew as they go on vacation with Jaws a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that is attacking beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography. Shot mostly on location on Martha's Vineyard in Massachusetts, Jaws was the first major motion picture to be shot on the ocean, and consequently had a troubled production with issues such as going over budget and past schedule. As the art department's mechanical sharks often malfunctioned, Spielberg decided mostly to suggest the shark's presence, employing an ominous and minimalist theme created by composer John Williams to indicate its impending appearances. Spielberg and others have compared this suggestive approach to that of director Alfred Hitchcock. Universal Pictures' release of the film to over 450 screens was an exceptionally wide release for a major studio picture at the time, and it was accompanied by an extensive marketing campaign with a heavy emphasis on television spots and tie-in merchandise. For the AMPM VIDEO crew you can watch the video podcast on YouTube, listen on Spotify or Apple Music & catch us next week live on twitch.tv/ampmvideo Drop a comment, like & hit the subscribe button. Give us a follow @ampm.video & @goteamvideo BIG shoutout to @gubbsmusic for our intro/outro music & BIG shoutout to @shotfromthepit for our fun promo photos! ⚡️ If you would like to support @ampm.video & @goteamvideo for all we do & so that we can keep creating more content, check out patreon.com/ampmvideo

And we're back! We sat down and reviewed the 1941 film, The Reluctant Dragon! A story about a dragon who would much rather recite poetry and play is taught how to be ferocious by a young boy and a knight. Well part of the story at least, along with an hour long tour of Walt Disney Animation Studios. Join us as we join Mr. Benchley on his day at the studio, ending with his meeting with Walt.   Next episode: Dumbo   Follow on Twitter @WeWatchDisney We Went To Disney Youtube We Watch Disney Podcast on Spotify We Watch Disney Podcast on Apple Podcasts We Watch Disney Podcast on Patreon

Ed Brand made a trip to Zimbabwe to meet with Dickson Dangirwa, who is supported by the church at Benchley. Zimbabwe has been known by many…

In this episode, we're dissecting the Steven Spielberg classic Jaws, including how it benefited from mistakes, its painful similarities to our modern lives, the creation of the summer blockbuster, masculinity, economical character development, bell-bottoms, sharks, & more! Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that is attacking beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.

This is Garrison Hardie with your CrossPolitic Daily News Brief for Monday, June 20th, 2022. Here’s what you may have missed, over the weekend! On Saturday, game 2 of the Stanley Cup Finals between the Colorado Avalanche, and the Tampa Bay Lightning took place. The Avalanche took game 1, so Tampa Bay really wanted to even up the series as it shifts back to Florida today… and well… here’s how it went. If you’re a Tampa Bay fan, cover your ears! Cup Final, Gm2: Lightning @ Avalanche 6/18 | NHL Playoffs 2022 Play 0:48-1:05 Play 2:11-2:27 Play 3:40-3:55 Play 5:15-5:27 Play 6:25-6:35 Play 7:43-7:55 Play 8:15-8:30 https://www.outkick.com/nichushkin-stays-hot-avalanche-take-commanding-2-0-series-lead-over-lightning-in-stanley-cup-final/ What you just heard was the absolute demolition of the Tampa Bay Lightning at the hands of the Colorado Avalanche. The Tampa Bay Lightning came into Game 2 of the 2022 Stanley Cup Final with a plan. But like Mike Tyson once said, everybody’s got a plan until they get punched in the face. Or in this case, an avalanche of seismic proportions. Lightning head coach Jon Cooper said the key to evening up the series at two was weathering the storm in the first 10 minutes from the Colorado Avalanche. And yet, after those 10 crucial minutes of play inside Ball Arena, Colorado held a 2-0 advantage — just as they did in Game 1. The Avalanche’s onslaught started early and never let up, as Colorado defeated Tampa Bay, 7-0, to take an all-important 2-0 series lead. Why’s that so important, you ask? Teams leading 2-0 in the Stanley Cup Final are 47-5 all-time. The touchdown + extra point loss is Tampa Bay’s worst in its playoff history, topping the 5-0 defeat against the Toronto Maple Leafs in Round 1 this year and the 6-1 loss to the Philadelphia Flyers back in 1996, the franchise’s first ever playoff appearance. The Avalanche have now scored 11 goals through two games in the series and are 14-2 overall during the playoffs. The seven-goal margin is the largest in a Stanley Cup Final game since 1991, when the Pittsburgh Penguins defeated the Minnesota North Stars, 8-0, in Game 6 of the series. The series will now shift back to Tampa Bay for Games 3 and 4, with the Lightning looking for any sort of jolt from the Amalie Arena crowd. Puck drop for Game 3 is scheduled for Monday at 8 p.m. ET on ESPN. Lies, Propaganda, Story Telling, and the Serrated Edge: This year our national conference is in Knoxville, TN October 6th-8th. The theme of this year’s conference is Lies, Propaganda, Storytelling and the Serrated Edge. Satan is the father of lies, and the mother of those lies is a government who has rejected God. We have especially been lied to these last two years, and the COVIDpanic has been one of the central mechanisms that our government has used to lie to us and to grab more power. Because Christians have not been reading their bibles, we are susceptible to lies and weak in our ability to fight these lies. God has given us His word to fight Satan and his lies, and we need to recover all of God’s word, its serrated edge and all. Mark your calendars for October 6th-8th, as we fight, laugh and feast with fellowship, beer and Psalms, our amazing lineup of speakers, hanging with our awesome vendors, meeting new friends, and more. Early bird tickets are available now, but will be gone before you know it! Sign up now at flfnetwork.com/knoxville2022 https://www.politico.com/news/2022/06/19/world-swimming-transgender-athletes-00040722 Speaking of lies & Propaganda… let’s talk about transgender athletes! World swimming bans transgender athletes from women’s events World swimming’s governing body has effectively banned transgender women from competing in women’s events, starting Monday. FINA members widely adopted a new “gender inclusion policy” on Sunday that only permits swimmers who transitioned before age 12 to compete in women’s events. The organization also proposed an “open competition category.” “This is not saying that people are encouraged to transition by the age of 12. It’s what the scientists are saying, that if you transition after the start of puberty, you have an advantage, which is unfair,” James Pearce, who is the spokesperson for FINA president Husain Al-Musallam, told The Associated Press. “They’re not saying everyone should transition by age 11, that’s ridiculous. You can’t transition by that age in most countries and hopefully you wouldn’t be encouraged to. Basically, what they’re saying is that it is not feasible for people who have transitioned to compete without having an advantage.” Pearce confirmed there are currently no transgender women competing in elite levels of swimming. The World Professional Association for Transgender Health just lowered its recommended minimum age for starting gender transition hormone treatment to 14 and some surgeries to 15 or 17. FINA’s new 24-page policy also includes proposals for a new “open competition” category. The organization said it was setting up “a new working group that will spend the next six months looking at the most effective ways to set up this new category.” Pearce told the AP that the open competition would most likely mean more events, but those details still need to be worked out. The members voted 71.5% in favor at the organization’s extraordinary general congress after hearing presentations from three specialist groups — an athlete group, a science and medicine group and a legal and human rights group — that had been working together to form the policy following recommendations given by the International Olympic Committee last November. The IOC urged shifting the focus from individual testosterone levels and calling for evidence to prove when a performance advantage existed. FINA said it recognizes “that some individuals and groups may be uncomfortable with the use of medical and scientific terminology related to sex and sex-linked traits (but) some use of sensitive terminology is needed to be precise about the sex characteristics that justify separate competition categories.” In March, Lia Thomas a man, made history in the United States as the first man to win woman’s NCAA swimming championship, the 500-yard freestyle. The coward, Thomas said last month on ABC’s “Good Morning America” that he was aiming to become an Olympic swimmer. He also disputed those who say he has an unfair biological edge that ruins the integrity of women’s athletics, saying “trans women are not a threat to women’s sports.” The University of Pennsylvania didn’t immediately respond to a request for comment from Thomas. Other sports have also been examining their rules around transgender athletes. On Thursday, cycling’s governing body updated its eligibility rules for transgender athletes with stricter limits that will force riders to wait longer before they can compete. The International Cycling Union (UCI) increased the transition period on low testosterone to two years, and lowered the maximum accepted level of testosterone. The previous transition period was 12 months but the UCI said recent scientific studies show that “the awaited adaptations in muscle mass and muscle strength/power” among athletes who have made a transition from male to female takes at least two years. From sports, let’s go to entertainment, to infinity and beyond!!! https://variety.com/2022/film/box-office/box-office-lightyear-disappoints-1235298248/ Pixar’s ‘Lightyear’ Underwhelms With $51 Million Debut as ‘Jurassic World’ Stays No. 1 To infinity and beyond? Not exactly… “Lightyear,” a spinoff story set in Pixar’s “Toy Story” universe, fell short of that boundless milestone in its box office debut, collecting a lackluster $51 million from 4,255 North American theaters. Family audiences, the movie’s prime demographic, haven’t returned to theaters in full force since the start of the COVID-19 pandemic. Even so, those ticket sales are disappointing for a brand as recognizable as Pixar, the home of “The Incredibles,” “Finding Nemo” and “Up.” It’s particularly problematic given that “Lightyear” cost $200 million to produce and tens of millions more to market. Heading into the weekend, the Disney film was expected to generate at least $70 million. But its ambitions were thwarted by heightened competition from Universal’s behemoth “Jurassic World Dominion” and Paramount’s high-flying “Top Gun: Maverick,” as well as little intrigue to watch a slightly esoteric origin story about Buzz Lightyear, one that had only a tenuous connection to the four films in the popular kid-friendly franchise. With its wobbly liftoff, “Lightyear” landed in second place, becoming one of the rare Pixar films to not take the top spot at the domestic box office. Internationally, “Lightyear” earned $34.6 million from 43 markets, taking its global total to $85.6 million. The movie was banned in smaller foreign markets, including Saudi Arabia and the United Arab Emirates, because it depicts a same-sex kiss. Notably, “Lightyear” is the first Pixar movie to play on the big screen in more than two years — since “Onward” in March 2020. During the pandemic, three of the animation studio’s titles — “Soul,” “Luca” and “Turning Red” — skipped theaters to land directly on Disney+, leaving some box office analyst to question if consumers have been trained to watch Pixar movies at home. Other industry experts question if Disney is relying too heavily on brand recognition and not enough on execution. It’s not that people disliked the movie, which landed an “A-” CinemaScore and 77% on Rotten Tomatoes. But Disney certainly hoped that more ticket buyers would feel compelled to see “Lightyear” in theaters over the weekend. Believe me, I would have loved to see this movie. I mean, Toy Story was a part of my child-hood growing up, so it really pained me to see the headlines that they were going to force a gay kiss into the movie… based on that, I, and many of the people I’ve spoken with, refused to see the movie, as I’m sure all of our audience would agree. Even with a colossal 60% decline, “Jurassic World Dominion” managed to capture the box office crown again in a surprise upset. Universal’s prehistoric sequel generated $58.6 million from 4,697 cinemas in its second weekend of release, bringing its domestic total to $259 million. In third place, “Top Gun: Maverick” keeps flying high with a mammoth $44 million from 4,035 venues in North America, marking a scant 15% drop from last weekend. You know what those two shows have in common? They just tried to entertain the audience… not educate, or force satanic themes upon us. Speaking of education… Classical Conversations Classical Conversations supports homeschooling parents by cultivating the love of learning through a Christian worldview in fellowship with other families. We provide a classical Christ-centered curriculum, local like-minded communities across the United States and in several countries, and we train parents who are striving to be great classical educators in the home. For more information and to get connected, please visit our website at ClassicalConversations.com. Again that’s ClassicalConversations.com. Finally, let’s end today’s news brief, with a stroll down on this day in history! Jaws Theme Song - Play 1:07-1:18 Iconic! Anything directed by the great John Williams is just amazing… On June 20th, 1975, Jaws, a film directed by Steven Spielberg that made countless viewers afraid to go into the water, opens in theaters. The story of a great white shark that terrorizes a New England resort town became an instant blockbuster and the highest-grossing film in movie history until it was bested by 1977’s Star Wars. Jaws was nominated for an Academy Award in the Best Picture category and took home three Oscars, for Best Film Editing, Best Original Score and Best Sound. The film, a breakthrough for director Spielberg, then 27 years old, spawned several sequels. The film starred Roy Scheider as principled police chief Martin Brody, Richard Dreyfuss as a marine biologist named Matt Hooper and Robert Shaw as a grizzled fisherman called Quint. It was set in the fictional beach town of Amity, and based on a best-selling novel, released in 1973, by Peter Benchley. Subsequent water-themed Benchley bestsellers also made it to the big screen, including The Deep (1977). With a budget of $12 million, Jaws was produced by the team of Richard Zanuck and David Brown, whose later credits include The Verdict (1982), Cocoon (1985) and Driving Miss Daisy (1989). Filming, which took place on Martha’s Vineyard, Massachusetts, was plagued by delays and technical difficulties, including malfunctioning mechanical sharks. Jaws put now-famed director Steven Spielberg on the Hollywood map. Spielberg, largely self-taught in filmmaking, made his major feature-length directorial debut with The Sugarland Express in 1974. The film was critically well-received but a box-office flop. Following the success of Jaws, Spielberg went on to become one of the most influential, iconic directors in the film world, with such epics as Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), ET: the Extra-Terrestrial (1982), Jurassic Park (1993), Schindler’s List (1993) and Saving Private Ryan (1998). E.T., Jaws and Jurassic Park rank among the highest-grossing movies of all time. This has been your CrossPolitic Daily News Brief. If you liked the show, go ahead and hit that share button… or become a club member, as we’re starting to put out content only available to CLUB MEMBERS! Also check out our Fight Laugh Feast Magazine at flfnetwork.com/membership, and as always, if you want to talk corporate partnerships, let’s talk… email me, at garrison@fightlaughfeast.com. For CrossPolitc News, I’m Garrison Hardie. Have a great day, and Lord bless.

This is Garrison Hardie with your CrossPolitic Daily News Brief for Monday, June 20th, 2022. Here’s what you may have missed, over the weekend! On Saturday, game 2 of the Stanley Cup Finals between the Colorado Avalanche, and the Tampa Bay Lightning took place. The Avalanche took game 1, so Tampa Bay really wanted to even up the series as it shifts back to Florida today… and well… here’s how it went. If you’re a Tampa Bay fan, cover your ears! Cup Final, Gm2: Lightning @ Avalanche 6/18 | NHL Playoffs 2022 Play 0:48-1:05 Play 2:11-2:27 Play 3:40-3:55 Play 5:15-5:27 Play 6:25-6:35 Play 7:43-7:55 Play 8:15-8:30 https://www.outkick.com/nichushkin-stays-hot-avalanche-take-commanding-2-0-series-lead-over-lightning-in-stanley-cup-final/ What you just heard was the absolute demolition of the Tampa Bay Lightning at the hands of the Colorado Avalanche. The Tampa Bay Lightning came into Game 2 of the 2022 Stanley Cup Final with a plan. But like Mike Tyson once said, everybody’s got a plan until they get punched in the face. Or in this case, an avalanche of seismic proportions. Lightning head coach Jon Cooper said the key to evening up the series at two was weathering the storm in the first 10 minutes from the Colorado Avalanche. And yet, after those 10 crucial minutes of play inside Ball Arena, Colorado held a 2-0 advantage — just as they did in Game 1. The Avalanche’s onslaught started early and never let up, as Colorado defeated Tampa Bay, 7-0, to take an all-important 2-0 series lead. Why’s that so important, you ask? Teams leading 2-0 in the Stanley Cup Final are 47-5 all-time. The touchdown + extra point loss is Tampa Bay’s worst in its playoff history, topping the 5-0 defeat against the Toronto Maple Leafs in Round 1 this year and the 6-1 loss to the Philadelphia Flyers back in 1996, the franchise’s first ever playoff appearance. The Avalanche have now scored 11 goals through two games in the series and are 14-2 overall during the playoffs. The seven-goal margin is the largest in a Stanley Cup Final game since 1991, when the Pittsburgh Penguins defeated the Minnesota North Stars, 8-0, in Game 6 of the series. The series will now shift back to Tampa Bay for Games 3 and 4, with the Lightning looking for any sort of jolt from the Amalie Arena crowd. Puck drop for Game 3 is scheduled for Monday at 8 p.m. ET on ESPN. Lies, Propaganda, Story Telling, and the Serrated Edge: This year our national conference is in Knoxville, TN October 6th-8th. The theme of this year’s conference is Lies, Propaganda, Storytelling and the Serrated Edge. Satan is the father of lies, and the mother of those lies is a government who has rejected God. We have especially been lied to these last two years, and the COVIDpanic has been one of the central mechanisms that our government has used to lie to us and to grab more power. Because Christians have not been reading their bibles, we are susceptible to lies and weak in our ability to fight these lies. God has given us His word to fight Satan and his lies, and we need to recover all of God’s word, its serrated edge and all. Mark your calendars for October 6th-8th, as we fight, laugh and feast with fellowship, beer and Psalms, our amazing lineup of speakers, hanging with our awesome vendors, meeting new friends, and more. Early bird tickets are available now, but will be gone before you know it! Sign up now at flfnetwork.com/knoxville2022 https://www.politico.com/news/2022/06/19/world-swimming-transgender-athletes-00040722 Speaking of lies & Propaganda… let’s talk about transgender athletes! World swimming bans transgender athletes from women’s events World swimming’s governing body has effectively banned transgender women from competing in women’s events, starting Monday. FINA members widely adopted a new “gender inclusion policy” on Sunday that only permits swimmers who transitioned before age 12 to compete in women’s events. The organization also proposed an “open competition category.” “This is not saying that people are encouraged to transition by the age of 12. It’s what the scientists are saying, that if you transition after the start of puberty, you have an advantage, which is unfair,” James Pearce, who is the spokesperson for FINA president Husain Al-Musallam, told The Associated Press. “They’re not saying everyone should transition by age 11, that’s ridiculous. You can’t transition by that age in most countries and hopefully you wouldn’t be encouraged to. Basically, what they’re saying is that it is not feasible for people who have transitioned to compete without having an advantage.” Pearce confirmed there are currently no transgender women competing in elite levels of swimming. The World Professional Association for Transgender Health just lowered its recommended minimum age for starting gender transition hormone treatment to 14 and some surgeries to 15 or 17. FINA’s new 24-page policy also includes proposals for a new “open competition” category. The organization said it was setting up “a new working group that will spend the next six months looking at the most effective ways to set up this new category.” Pearce told the AP that the open competition would most likely mean more events, but those details still need to be worked out. The members voted 71.5% in favor at the organization’s extraordinary general congress after hearing presentations from three specialist groups — an athlete group, a science and medicine group and a legal and human rights group — that had been working together to form the policy following recommendations given by the International Olympic Committee last November. The IOC urged shifting the focus from individual testosterone levels and calling for evidence to prove when a performance advantage existed. FINA said it recognizes “that some individuals and groups may be uncomfortable with the use of medical and scientific terminology related to sex and sex-linked traits (but) some use of sensitive terminology is needed to be precise about the sex characteristics that justify separate competition categories.” In March, Lia Thomas a man, made history in the United States as the first man to win woman’s NCAA swimming championship, the 500-yard freestyle. The coward, Thomas said last month on ABC’s “Good Morning America” that he was aiming to become an Olympic swimmer. He also disputed those who say he has an unfair biological edge that ruins the integrity of women’s athletics, saying “trans women are not a threat to women’s sports.” The University of Pennsylvania didn’t immediately respond to a request for comment from Thomas. Other sports have also been examining their rules around transgender athletes. On Thursday, cycling’s governing body updated its eligibility rules for transgender athletes with stricter limits that will force riders to wait longer before they can compete. The International Cycling Union (UCI) increased the transition period on low testosterone to two years, and lowered the maximum accepted level of testosterone. The previous transition period was 12 months but the UCI said recent scientific studies show that “the awaited adaptations in muscle mass and muscle strength/power” among athletes who have made a transition from male to female takes at least two years. From sports, let’s go to entertainment, to infinity and beyond!!! https://variety.com/2022/film/box-office/box-office-lightyear-disappoints-1235298248/ Pixar’s ‘Lightyear’ Underwhelms With $51 Million Debut as ‘Jurassic World’ Stays No. 1 To infinity and beyond? Not exactly… “Lightyear,” a spinoff story set in Pixar’s “Toy Story” universe, fell short of that boundless milestone in its box office debut, collecting a lackluster $51 million from 4,255 North American theaters. Family audiences, the movie’s prime demographic, haven’t returned to theaters in full force since the start of the COVID-19 pandemic. Even so, those ticket sales are disappointing for a brand as recognizable as Pixar, the home of “The Incredibles,” “Finding Nemo” and “Up.” It’s particularly problematic given that “Lightyear” cost $200 million to produce and tens of millions more to market. Heading into the weekend, the Disney film was expected to generate at least $70 million. But its ambitions were thwarted by heightened competition from Universal’s behemoth “Jurassic World Dominion” and Paramount’s high-flying “Top Gun: Maverick,” as well as little intrigue to watch a slightly esoteric origin story about Buzz Lightyear, one that had only a tenuous connection to the four films in the popular kid-friendly franchise. With its wobbly liftoff, “Lightyear” landed in second place, becoming one of the rare Pixar films to not take the top spot at the domestic box office. Internationally, “Lightyear” earned $34.6 million from 43 markets, taking its global total to $85.6 million. The movie was banned in smaller foreign markets, including Saudi Arabia and the United Arab Emirates, because it depicts a same-sex kiss. Notably, “Lightyear” is the first Pixar movie to play on the big screen in more than two years — since “Onward” in March 2020. During the pandemic, three of the animation studio’s titles — “Soul,” “Luca” and “Turning Red” — skipped theaters to land directly on Disney+, leaving some box office analyst to question if consumers have been trained to watch Pixar movies at home. Other industry experts question if Disney is relying too heavily on brand recognition and not enough on execution. It’s not that people disliked the movie, which landed an “A-” CinemaScore and 77% on Rotten Tomatoes. But Disney certainly hoped that more ticket buyers would feel compelled to see “Lightyear” in theaters over the weekend. Believe me, I would have loved to see this movie. I mean, Toy Story was a part of my child-hood growing up, so it really pained me to see the headlines that they were going to force a gay kiss into the movie… based on that, I, and many of the people I’ve spoken with, refused to see the movie, as I’m sure all of our audience would agree. Even with a colossal 60% decline, “Jurassic World Dominion” managed to capture the box office crown again in a surprise upset. Universal’s prehistoric sequel generated $58.6 million from 4,697 cinemas in its second weekend of release, bringing its domestic total to $259 million. In third place, “Top Gun: Maverick” keeps flying high with a mammoth $44 million from 4,035 venues in North America, marking a scant 15% drop from last weekend. You know what those two shows have in common? They just tried to entertain the audience… not educate, or force satanic themes upon us. Speaking of education… Classical Conversations Classical Conversations supports homeschooling parents by cultivating the love of learning through a Christian worldview in fellowship with other families. We provide a classical Christ-centered curriculum, local like-minded communities across the United States and in several countries, and we train parents who are striving to be great classical educators in the home. For more information and to get connected, please visit our website at ClassicalConversations.com. Again that’s ClassicalConversations.com. Finally, let’s end today’s news brief, with a stroll down on this day in history! Jaws Theme Song - Play 1:07-1:18 Iconic! Anything directed by the great John Williams is just amazing… On June 20th, 1975, Jaws, a film directed by Steven Spielberg that made countless viewers afraid to go into the water, opens in theaters. The story of a great white shark that terrorizes a New England resort town became an instant blockbuster and the highest-grossing film in movie history until it was bested by 1977’s Star Wars. Jaws was nominated for an Academy Award in the Best Picture category and took home three Oscars, for Best Film Editing, Best Original Score and Best Sound. The film, a breakthrough for director Spielberg, then 27 years old, spawned several sequels. The film starred Roy Scheider as principled police chief Martin Brody, Richard Dreyfuss as a marine biologist named Matt Hooper and Robert Shaw as a grizzled fisherman called Quint. It was set in the fictional beach town of Amity, and based on a best-selling novel, released in 1973, by Peter Benchley. Subsequent water-themed Benchley bestsellers also made it to the big screen, including The Deep (1977). With a budget of $12 million, Jaws was produced by the team of Richard Zanuck and David Brown, whose later credits include The Verdict (1982), Cocoon (1985) and Driving Miss Daisy (1989). Filming, which took place on Martha’s Vineyard, Massachusetts, was plagued by delays and technical difficulties, including malfunctioning mechanical sharks. Jaws put now-famed director Steven Spielberg on the Hollywood map. Spielberg, largely self-taught in filmmaking, made his major feature-length directorial debut with The Sugarland Express in 1974. The film was critically well-received but a box-office flop. Following the success of Jaws, Spielberg went on to become one of the most influential, iconic directors in the film world, with such epics as Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), ET: the Extra-Terrestrial (1982), Jurassic Park (1993), Schindler’s List (1993) and Saving Private Ryan (1998). E.T., Jaws and Jurassic Park rank among the highest-grossing movies of all time. This has been your CrossPolitic Daily News Brief. If you liked the show, go ahead and hit that share button… or become a club member, as we’re starting to put out content only available to CLUB MEMBERS! Also check out our Fight Laugh Feast Magazine at flfnetwork.com/membership, and as always, if you want to talk corporate partnerships, let’s talk… email me, at garrison@fightlaughfeast.com. For CrossPolitc News, I’m Garrison Hardie. Have a great day, and Lord bless.

Dagli abissi più profondi due occhi neri e vuoti risalgono. Al microfono terrorizzati, Giojo e Zeno raccontano il cinema de Lo squalo di Steven Spielberg. Aggrappatevi alla vostra bombola d'ossigeno (cit.), se l'avete!

Words of Power by Wendy N. Wagner. Narrated by J.S. Arquin. Featuring an afterword by Wendy N. Wagner.    Kádár scrutinized the flake of clay on the blade of the screwdriver. "He's just getting too old to be a war truck," she said. "Look at this clay. The logos barely flickers in it." Zugsführer Warren spat on the packed earthen floor of the machine house. "You know I can't see that magic shit," he growled. "And it wouldn't matter if I did. An order is an order, Gefreiter Kádár, and the Oberst needs every last golem out on the field." The small woman wiped the screwdriver clean on her shirt tail and restrained a sigh. There was no point arguing with the big American; if anyone was a stickler for following orders, it was the Zugsführer. They'd butted heads before, and Kádár had come away with a headache. She stroked the pitted side of the golem. Even the Amero-Hungarian state seal, painted on each of its shoulders, looked worn out. "Poor old Benchley." "You name them?" She didn't bother glancing at Warren. Instead, she studied the dull gray places where the field operators had patched the injured clay. She narrowed her eyes. "This patch clay is shit," she growled. "Even the clay I used to convert him from a fighting man to a war truck was better than this, and I wouldn't have used that crap to make a singing tea pot."   Wendy N. Wagner is the editor-in-chief of Nightmare Magazine and the managing/senior editor of Lightspeed. Her short stories, essays, and poems run the gamut from horror to environmental literature. Her longer work includes the novella The Secret Skin, the horror novel The Deer Kings,  the Locus bestselling SF eco-thriller An Oath of Dogs,  and two novels for the Pathfinder role-playing game. She lives in Oregon with her very understanding family, two large cats, and a Muppet disguised as a dog. https://winniewoohoo.com/ Twitter: @wnwager facebook.com/wendynwagner   This is the final episode of The Overcast. Thank you so much for listening and for all of your support over the past 7 years!    Until we meet again... Keep dreaming,                                 J.S. Arquin  

Onchi, Lamp and Benchley have to grapple with the true, nefarious nature of the research they've been conducting for the past 2 years. Will they be able to correct the wrongs of their employers? And what part does Tyson have to play in all this?? Bubbo Boutique: Grab the limited edition character dice bags hand made by Elaine!Visit ScrapBrainStudios and use code "TABLEVERSE" for 10% off your purchase!Discord: Join our Discord to hang out with other fans and chat with us!If you liked this episode, share it and leave us a review and rating on iTunes!Find us on social media @thetableverse.Edited by: Justin Harris  Produced by: Elaine BledsoeCASTStarlord: Elaine BledsoeOnchi: Alison KlempBenchley Parker: Johnny McNultyTyson Williams: Quinten LamarLamp: Conor GallagherOriginal music composed by Jennifer RowekampOriginal artwork illustrated by Liara K. Crane

David and Vicki are joined by Wendy Benchley and Margo Pellegrino, both previous podcast guests and both fellow veterans of Blue Frontier, the ocean conservation group that works to give people who care about the Ocean the tools needed to protect their communities both human and wild. The four discuss two decades of Blue Vision Summits, Benchley awards, ocean adventures, marches, celebrations and mobilizations, including to link Ocean and climate solutions. And of course many media projects like Rising Tide. Listen and Enjoy. It's a birthday party.Rising Tide, the Ocean Podcast is co-hosted by Blue Frontier's David Helvarg and the Inland Ocean Coalition's Vicki Nichols-Goldstein. This podcast aims to give you information, inspiration and motivation (along with a few laughs) to help understand our ocean world and make it better. The ocean is rising, and so are we!Learn more at bluefront.org

Duffy's Tavern is an American radio situation comedy that ran for a decade on several networks (CBS, 1941–42; NBC-Blue Network, 1942–44; and NBC, 1944–51), concluding with the December 28, 1951, broadcast.The program often featured celebrity guest stars but always hooked them around the misadventures of Archie, the tavern's manager, portrayed by Ed Gardner. Archie was prone to involvement in get-rich-quick schemes and romantic missteps, and constantly communicated with malaprops and mixed metaphors. Gardner had performed the character of Archie, talking about Duffy's Tavern, as early as November 9, 1939, when he appeared on NBC's Good News of 1940 Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Robert Benchley is the featured guest in this episode. Kingfish has a problem. He and Andy visit robert Benchley for this latest round of marital trouble. It all goes back…

(An Offer I Can't Refuse) Stephanie and Aaron are joined by Richard Roeper (The Chicago Sun-Times, At the Movies with Roger Ebert) to talk about the 1975 thriller Jaws, directed by Steven Spielberg, written by Peter Benchley and Carl Gottlieb based on Benchley's book of the same name, and starring Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, and Murray Hamilton.   For premium content, including bonus episodes, early access to episodes, video episodes, behind-the-scenes content, and more subscribe to An Offer I Can't Refuse at https://www.patreon.com/anofferpod

Introduction II Thessalonians 2:16 We believe and practice what's in the Bible – even the controversial stuff! I Peter 3:21 – Baptism is…

Jim Abernethy, diver and shark advocate, claims that sharks are "the dogs of the sea." How is that possible? What does that even mean? Lisa and Ann dive deep into their fears and fascinations. Who are sharks really, can you befriend them, and is it safe or even sane to do so? What does shark friendship look like? Want to follow up on our sources or watch any of the videos we mention? Go to ThisAnimalLIfe.com and click on Show Notes. References: Abernethy, Jim, featured in “Guy and Wild Shark Have Been Best Friends for Decades,” The Dodo Wild Hearts. August 4, 2020. Abernethy, Jim, featured with Eric Cheng in "Misunderstood Predators: Part 2," Tales by Light,  Netflix April 2017.. Abernethy, Jim. Scuba Adventures, dive-with-the-sharks website. Abernethy, Jim featured in “Shark Encounter in 180: Worth More Alive,” National Geographic on YouTube. Surprising and sobering interdependence between human and shark. Abernethy, Jim, “Tiger Shark Love,” YouTube video of Jim and Tarantino, November 2014. Benchley, Peter, Jaws, Random House, 1974. Frazer, Bryant, "The Deep (1977) Blu-Ray," Film Freak Central, June 2012. Article about the making of the film and Percy the eel puppets. Ghose, Tia, “Why Shark Embryos Gobble Each Other Up in Utero,” Live Science, April 30, 2013. Lazarus, Keo Felker, The Shark in Charlie's Window, Scholastic Book Services, 1972. Children's book. Martinez, Eli, “Brave explorer shows how to tame a giant man-eating tiger shark” by Tom Davidson. Mirror 2/8/2018. Moray eel puppet scene from The Deep on YouTube. Shiffman, David, “How Smart Are Sharks?” Sport Diver, July 30, 2020. Taylor, Valerie, featured in "Woman Shares a Magical Bond With A Spotted Moray Eel," by Sarah Barness,  Huffington Post, July 9, 2014. Taylor, Valerie with Honey the spotted moray eel, "Valerie Taylor Befriends a Spotted Moray Eel." Central Florida Aquarium Society. Weber, Chuck, “Are sharks the ‘dogs' of the ocean?” CBS, November 4, 2016.

Adam Stokes Discusses Lessons We Can Take From Ancient Myths and Stories Adam Oliver Stokes holds degrees in religion from Duke University and Yale Divinity School. He has published on a variety of topics including biblical studies, Mormon studies, Classical studies, and ancient American history. He is the author of three books- From Egypt to Ohio: A Semitic Origin for the Giants of North America, Perspectives on the Old Testament, and The Latin Scrolls: Selections from the Five Megilloth taken from the Latin Vulgate. He currently teaches Latin at Penns Grove High School in New Jersey and lives in Edgewater Park, New Jersey with his wife and two sons. Connect with Adam Instagram: https://www.instagram.com/adamthegiantguy2019/ Facebook: https://www.facebook.com/linguaclassica Episode Transcript 7-5-21 Adam Stokes [00:00:00] Adam Stokes: [00:00:00] I think that that is amazing. Lesson four for today, as we look at the state of the world and we're always wanting to, you know, get more power, get, get more attention, get more fame, but look at what that cost and look how it hurts the people around you. And I think that goes back to looking at, you know, how the, the women in these, in these plays are portray criminal Astra and yeah. [00:00:25] Izolda Trakhtenberg: [00:00:25] Hi, and welcome to the innovative mindset podcast. I'm your host. Izolda Trakhtenberg. On the show. You get my conversations with peak performing thought leaders, creatives, and entrepreneurs. We explore how you can innovate through creativity, compassion, and collaboration. I believe that innovation combined with compassion and creative thinking can save the world and I aim to bring you ways. [00:00:48] You can do it too. If you're enjoying the show, I'd be super grateful. If you could support it by buying me a cup of coffee, you can buy me a cup@buymeacoffee.com slash Izolda tea. And now [00:01:00] let's get on with the show. [00:01:09] Hey there and welcome to the innovative mindset podcast. I'm your host. Izolda Trakhtenberg, I'm super happy that you're here and I'm really honored and happy to have today's guest on the show. Check this out. And you will know that that my inner Greek mythology nerd is going to be so super happy to talk to this. [00:01:26] Gentlemen, Adam Oliver Stokes holds degrees in religion from duke university and Yale divinity school. He has published on a variety of topics, including biblical studies, Mormon studies, classical studies and ancient American history. He's the author of three books from Egypt to Ohio, a submitted origin for the giants of north America. [00:01:46] Can't wait to talk about that one perspectives on the old Testament and the Latin scrolls selections from the five Meggie LOTE taken from the Latin Vulgate. He currently teaches Latin at Penns Grove high school in New Jersey and lives in Edgewater park, New Jersey with [00:02:00] his wife and two sons. How exciting is this going to be Adam? [00:02:03] Thank you so much for being here. Welcome. [00:02:05] Adam Stokes: [00:02:05] Great to be here as always. Thank you for that. Oh, it's my [00:02:07] Izolda Trakhtenberg: [00:02:07] pleasure. I'm I'm so excited to talk to you in part, because just let's just jump on in what got you started. I know what got me started reading both inches mythology when I was nine years old. What got you started? [00:02:22] What fascinated you about this, these ancient cultures and civilizations that you decided to make it your life's work? [00:02:30] Adam Stokes: [00:02:30] Yeah, well, I think it goes way back to my seventh grade Latin teacher, Mr. Butoh. My parents, my mom forced me to take Latin. I went in kicking and screaming. My dad thought it was kind of a pointless class to take. [00:02:43] He thought it was, you know, a dead language. But into about a week or so of the class, this was my goodness is older. This is about almost 30 years ago. Into about a week into the class I was hooked. And the reason I was hooked is that Mr. Butoh was kind [00:03:00] of an unconventional Latin teacher. I'm not saying, I mean, he knew his stuff left and right. [00:03:05]Definitely one of the finest linguist I've ever I've ever encountered in my life. But he made it interesting for us. There's a way to teach Latin where it can be really boring and just really dry. And he just, how can I say it? He spiced it up. He brought in a lot of Roman history. He brought in a lot of mythology and I think at the time I was in middle school going into high school. [00:03:29]I was kind of a nerd. I was kind of one of the awkward kids didn't really quite fit in. So the ancient world was kind of my escape and I just, I just fell in love with it. Basically from, from the first time I started. Engage in it. And I knew that in college, I wanted my trajectory to be my trajectory, to be towards looking at our ancient civilizations. [00:03:54] Izolda Trakhtenberg: [00:03:54] I love that a teacher inspired you to this because yeah, there are a lot of people who think [00:04:00] Latin is a dead language, but it's the root of so many languages that knowing it can only be of benefit. So let me ask you a question. You're you teach Latin, do you spice it up for your students? And if so, what is it that you do? [00:04:14] Adam Stokes: [00:04:14] Oh, yes. Oh yes. Well my school, I love, I absolutely love the school that I teach at Pence Grove to give you some of the demographics about that school. About 40% of that school is of the school I teach at is made up of Latino students, let you know, and Latino students. So they come in with Spanish and it's really cool because I can hook them early on and say, you know, Spanish comes to. [00:04:37]From Latin. So I bring in a lot of, a lot of my focus is looking at the ways that Spanish intersects with Latin. What words are exactly the same as in Spanish, as they are in Latin. So for example to geek out here the second person singular too, is the same in Spanish. As it is in Latin. But I also do a lot of what Mr. [00:04:58] Beto did as well. We [00:05:00] were always, in fact, sometimes we do more Roman history and Greek mythology than translation of text themselves. So we've looked at basically everything from the Iliad to the Odyssey. We've looked at the various Roman emperors. I really liked the bad emperors, the naughty emperors the ones who, oh, gosh well, there's a bunch of them, but I'll S I'll say we focus a lot on calendula. [00:05:23] We also focus on narrow. So those were the bad guys, my favorite emperor. He wasn't actually bad, but I always highlight him and we must spend about a month on this guy is the emperor Claudius. And the reason that I do that is because Claudius likely. There was a whole mini series of him with my favorite actor who I would gladly divorce my wife or married their dare Jakoby. [00:05:48]Sarah  whom I absolutely love. But also we know from sources that Claudia has had some type of disability that he was possibly autistic or [00:06:00] something like that. And so I have some students who are dealing with disabilities themselves. So I always point to him and students always seem to appreciate this. [00:06:08] And I pointed him and say, you know, this was a guy who inspired his disability rose to be. The emperor, the ruler of the known world at the time. And he's just a fascinating figure, not only for himself, but the way that he intersects with all these different other figures in history curricula Herod Agrippa in in Jewish history Tiberias. [00:06:30]Augustus he intersects with basically all the grades. So we do a lot of stuff with the emperors. I actually have like an emperor battle that they have to do. They have to argue effectively. So get into little small groups and they have to argue effectively, which emperor was the worst. So there'll be a Nero or Caligula and you have to give the reasons why, or they'll even, this is a project I'm going to have them do in the upcoming months. [00:06:54]They will choose an emperor and kind of have to do a campaign for that emperor. So if you want to get this emperor [00:07:00] elected, if you want it to get him voted into office which of course didn't happen in the Roman world. The is just where we're chosen to be emperor or from their lineage. But if you were, if it was modern times and you were trying to get, you know, narrow elected what could you do to get him? [00:07:14]What would you say about him? How would you depict him to get elected? So there's campaign slogans and all that stuff. Now [00:07:20] Izolda Trakhtenberg: [00:07:20] is this all. [00:07:21] Adam Stokes: [00:07:21] So most of it is, yes. So they'll so a lot of their projects still basically write out a slogan in Latin. So or write out a description in Latin. [00:07:30] So they'll trans don't write out something in English, translate into Latin and then use that as a template. [00:07:38] Izolda Trakhtenberg: [00:07:38] That's so incredible. And I love that you do that, that you get them so engaged and involved and not just sitting down, which I think is phenomenal because often just sitting down for a long time, no matter what you're studying is going to be tougher on a student than, than getting up and actually doing and having a campaign. [00:07:56] So what is the best slogan someone's ever come up with for one of the [00:08:00] emperors? [00:08:01] Adam Stokes: [00:08:01] I think so I did a similar project at the school I taught at earlier, before I came to Penn strobe and I think the best one was. At least this emperor won't feed you to the lions. So I think it was a tighter surface space Sheehan and comparing him to Nero. [00:08:18]I think they were, they were the two emperors up for election. And yeah, I think that, that one, I always get a kick out of. So, you know, it can't be as bad as getting fled to the lions. [00:08:28] Izolda Trakhtenberg: [00:08:28] That's actually probably true. So let me it's I love, I love what you do as a teacher, but you're also an author and you, you write and you publish works. [00:08:41] And I know that this is, this is going to sound a little weird, but when, when you're doing this, when you're, when you're writing, you're writing for a modern audience writing for a contemporary 20, 21 audience, and you're writing about these things that happened thousands of years [00:09:00] ago, perhaps even longer, how do you make. [00:09:07] How do you make it relevant to the audience of 2021? And what lessons can we, as your readers learn to take into our future from, from these ancient civilizations in ancient stories? [00:09:21] Adam Stokes: [00:09:21] That's, that's a great question. And that's something that is always, like you said, a challenge for anybody trying to, you know, convey ancient history to modern readers. [00:09:31]I've read so many not to knock other textbooks, but especially within biblical studies and old Testament, there's so many textbooks that just give dry explanations of things. So. You'll read a textbook and they'll say, these are the books of the Hebrew Bible. This is their content, blah, blah, blah, blah, blah. [00:09:48] But it doesn't really talk about, you know, how this stuff is relevant today. And even though the Bible was written thousands of years ago for one it is, you know, a text that is still accepted as scripture by [00:10:00] large groups of people today, Jews and Christians. And also I think just because it was the primary Western document for so long, it continues to have affects both good and bad for, for our culture and for our society. [00:10:14]And so one of the challenges and one of the things that I try to do in writing both perspectives of the old Testament and the Latin scrolls was to show the, how the Bible or at least how people, how pop culture is understood. The Bible still has implications for issues that we, that we do. [00:10:34]Today. So in my perspective, the old Testament book there's an article in there about the treatment of Israelites towards foreigners. And I tied that article directly into the current discussion about immigration and treatment of foreigners here in America. When at a time when there is, there is increased us, you know, phobia My other book, the Latin scrolls actually, and I was advised to do this by [00:11:00] my editor and I think it was a great idea is older. [00:11:03]I was advised to put a section at the end of each of the megillah each of the scrolls that I translated what is the relevance of this scroll for today? So at the end of each of the translations, there is discussion about, you know, the contemporary relevance of, of the content in each of the scrolls. [00:11:23]So for example the scroll to the book of Esther I say, well, Esther was this average person who suddenly got skyrocketed, you know, to, to the, the highest. The highest status in society. She selling, we stressed into the court of the most powerful people in the world. What happens when this happens to you? [00:11:46] And I gave an example from my own life. I actually, when I was at duke just a little known me from, from Baltimore five foot two, actually got in the same class with the prince of Jordan and actually became friends with him. And so [00:12:00] I started that as an example. You know, what do you do when you basically you encounter a situation where you're suddenly thrust amongst very powerful people. [00:12:11]What ways might you know, you use this, not only to your own benefit, not to sound selfish, but also to the benefit of others as Esther does. So I try to raise questions like that. Song of songs, for example, another one of the Meggie load what does it say about sexuality? You know, we think of, we think of sex and, you know, we think of something, you know, that is, I think he's still in, still in the modern west. [00:12:35] Due to the influence of, of Christianity for so long, we think of sex as something that you know, is, is taboo. But you know what the song a song say about, you know, sexist is a very healthy sexual relationship. How might this be relevant? How might this differ from, you know, talking to my college students, many of whom come from Catholic strong Catholic backgrounds, how might this differ from what you've heard? [00:12:57] How might this be a positive way of understanding, [00:13:00] you know, sexuality? So I do bring that stuff in. I, I bring that stuff in, try to bring it in quite often. And it makes the class much more interesting. Some of the reflection papers I get from students, some of the ways that they answer these are really are really, really profound. [00:13:13] And they, they stick with me just as much as I hope my class sticks with them. [00:13:19] Izolda Trakhtenberg: [00:13:19] It's so interesting to me, how often as a teacher, you learn from your students almost as much as they learn [00:13:25] Adam Stokes: [00:13:25] from you. [00:13:28] Izolda Trakhtenberg: [00:13:28] So when you're in that, when you're in that state and you're looking at something, a document like the old Testament, and you see some things that the song of songs is a great example of something that, that we can really learn from. [00:13:43] And that can be of benefit of increasing kindness and tolerance towards people who are not the same as you especially, and also immigration was xenophobia. And yet there are times when you look at something like the Bible and you go really, you believe that, you know, don't eat crustaceans [00:14:00] or, or don't mix your fabrics or whatever. [00:14:02] So how do we, as modern people incorporate that into our viewpoint of a document, like the old Testament, because some of it frankly, is, is just so jarring. Like don't, you know, W some of the stuff that's, that's pretty violent. And some of the stuff that, that make doesn't make a lot of sense, like donate crustaceans or whatever, or I'm vegan. [00:14:26] So it's easy for me not to eat crustaceans and not, and not to pigs, but at the same time, how do we do that? How do we reconcile in our own cells when you, when we see such, such guidance and advice that is so. Dated, I'll say. [00:14:41] Adam Stokes: [00:14:41] Yeah. Yeah. And I always I do a session on the Abraham tradition in the book of Genesis. [00:14:47] And I always get to that horrible chapter in Genesis 18 where the angels come to Sodom and Gomorrah and lot basically says, you know to the men of the city, you know, I'll just don't do [00:15:00] anything to these male angels, but I'll throw my daughters out of the door to you. So that you can, you can have your way with them. [00:15:06]So, and that's one of many jarring many jarring scenes in the old Testament. I think the old Testament Hebrew Bible has to be taken like any other historical texts. Now, granted it's had much more of an influence than some other ancient texts have, but I think as I think Jesus would say, you have to kind of separate the wheat from the shaft recognize. [00:15:28]That, and I think that biblical scholarship having its basis in the European enlightenment and people likes renos, I think it does as well recognize that this is an ancient text written by human beings, that their morals the morals of their time are much different than the morals of our time. [00:15:44] But there's still stuff that you can wean from this from certain books, Ecclesiastes de Sala songs et cetera that still have value for today and how we interact and how we treat others. So I think excellent [00:16:00] example. I heard a lecture, I can't remember who gave the lecture but it was a woman who does who's a class assist and I'm blanking on her name right now. [00:16:08] She did a lecture on the Iliad and basically say, you know This basically the mindset of all these guys in the Elliot, just for, you know, blood bloodshed and plunder that you get with Agamemnon and Achilles. And basically all of them, they're all kind of all kinds of credit in that regard. [00:16:25]But you can also still take away some moral lessons from, from Homer not just the Elliot, but she was talking about the Odyssey as well. And basically, you know, what does it mean to be a virtuous person ever? She looks different for someone like Achilles or Agamemnon, you know 2,500 years ago. [00:16:45] But I think we can still ask that question as modern people wasn't mean to be virtuous in our time. What does it mean to be known. In our time. And the, the writings of Homer and the other Creek classics bring these questions to mind. Those questions are timeless. Those questions are eternal [00:17:00] and there'll be around long after we aren't. [00:17:03] Izolda Trakhtenberg: [00:17:03] Absolutely. I agree with you, the, those questions are timeless. Some of the answers make me cringe, but the questions themselves, you know, all you have to do is look at something like the Oresteia and, and wow. You know, what, what, what happened there was just, you know, wow. So, so when I look at those, when I look at those ancient texts and I look at, you know, oh, you killed my father. [00:17:25] So now I'm going to kill you and this and that. And the, you know, because he's, he sacrificed the daughter and all of these different things. I look at that. And I go, okay, if quite a Maestra, let's say she was in that she played, she was the wife in the arse Daya, and she heard her husband, the king sacrificed his daughter, all of these things happen. [00:17:46] And so she was taking revenge, right. She was taking revenge and she also had a lover and all of the it's a very dramatic and exciting and, and bloody story. Oh yes. So, so, but that's, that's what was, [00:18:00] this is, this is going to be a very feminist question. What was the woman's role here? What kind of power did quite a minister have besides doing what she did in that time? [00:18:11] And how do we, again, as modern people look at these tails and say, okay, this is maybe what quite a master could do. This is what, the path that was open to her or, or the Medea Medea is another great example. What could we do as women. In those times versus what lessons we can learn in modern times from these ancient tales. [00:18:36] Adam Stokes: [00:18:36] Yeah. Yeah. And I think, you know, I think that a lot of the Greek tails, especially, I think there's a subliminal message of sympathy for these women, like climb industrial, like Medea in, you know, saying that, you know, they're kind of, they're kind of literally restrained by the culture and the time period that they find themselves in and being married [00:19:00] to these men who have absolute power and are kind of, I think, especially with Agamemnon kind of absolutely narcissists. [00:19:09] Hmm. You know, what else could they do? So I think this is definitely when you read the, when you read the Greek place, Sophocles Europe, cities, et cetera, there is always an edge of, at least in my, at least how I read them of sympathy for these women. You know, cause I'm an Esther, it's not just this terrible unfaithful, a woman who kills, who kills Agamemnon, who kills her spouse. [00:19:30] But, you know, look at the context that set this up. And I think a lot of the Greek playwrights are saying, you know, let this be a warning of what absolute power does because Agamemnon he destroyed with, he destroyed a lot of people around him and eventually he destroys himself, his actions destroy himself. [00:19:47]And every step he takes to try and gain more power, including sacrificing his daughter eventually leads to his downfall. And I think that that is amazing lesson. For, for today, as we look at the state of the [00:20:00] world and we're always, you know, wanting to, you know, get more power, get get more attention, get more fame, but, you know, look at, look at what that cost and look how it hurts the people around you. [00:20:11] And I think that goes back, you know, to looking at, you know, how the, the women in these, in these plays are portrayed from a Nestra and Medea. [00:20:20] Izolda Trakhtenberg: [00:20:20] It's so interesting. It goes right back to what you said earlier about virtue and what does it mean to be a virtuous person? And now I'm getting into the nitty and the gritty of my, my Greek mythology, and [00:20:34] Adam Stokes: [00:20:34] I can talk to them about this stuff all day. [00:20:36] I [00:20:36] Izolda Trakhtenberg: [00:20:36] love this. Awesome. So, yeah, because as you, as you might be able to tell I'm a nerd for this. So, so, okay. So take something like the story of Antigony when she's in that position, she, she claims power. She goes, and she buries her brother and against the King's wishes. And then she pays obviously a pretty hefty price. [00:20:57] What again, what do we do? [00:21:00] What do we do now? As far as activism, how do we relate that to people wanting like to, to black lives matter movement? The me too movement, all of those movements are those kinds of protests. And in, in, in the, in the ancient plays, there was death to come. Now we are in a, hopefully much more enlightened place, but still we are faced with the same question. [00:21:26] What am I risking if I speak up, what am I risking? If I take action? Like Antigony did. Yeah. [00:21:34] Adam Stokes: [00:21:34] I think that that's a really good point. And I think, you know, yes, we don't risk death per se, you know, hopefully not, but I know that, you know, I have some activist friends. I used to teach at a Unitarian seminary way back in the day. [00:21:50] And a lot of my a lot of the students I taught went on to, to be activist. I even had some add in at Charleston in 2017. I don't know if you recall [00:22:00] that event with with the of course white supremacist but being an activist from what I've heard of activists, I, I'm not an activist. [00:22:07]Part of me feels ashamed about that, but I'm not really activist per se. But I admire activist. I greatly admire admire activists. And from what they have told me, it is a, it is a taxing thing. So you don't, you know, it's not necessarily that your life is in danger. Sometimes it is sometimes it is, but that the mental burden of, you know, of seeing all the problems in the world and trying to do something about it and feeling like you're just making, you know, baby steps and, you know, just such small head, you know, Just a little headway. [00:22:41]It's sometimes, you know really overwhelming. And so I know that, you know, a lot of activist struggle, you know, with issues of issue, issues of mental health. So I think going back to Antigony you know, making, I think that's a great example because at the end it comes down to what type of decision does she make? [00:22:59] She [00:23:00] can back off and, you know, just have everything go back to normal or she can she can protest and be defined. And what is the cost of that? And I think that's a, that's an extremely relevant question, you know, for for today, you know, even, you know, if, if, like I said, there's no physical harm that comes to you, there is going to be some type of cost when you, when you serve as an activist in the way in, in, in a positive way. [00:23:26] So there is going to be some mental costs, mental toll that it takes on you. And are you, are you ready? You know, are you ready for that? So if that makes sense. Oh, it [00:23:37] Izolda Trakhtenberg: [00:23:37] absolutely does. And, and it, you know, we, we all have to evaluate for ourselves what we're going to do and how we're going to do it for sure. [00:23:45] And I, I do want to say something Adam, that I, that I want to make, I want to make this point very clear. Consider yourself an activist you have taken on. The extremely important job [00:24:00] of teaching the next generation and the next generation and the next generation. If that's not an activist, I don't know what it is honestly. [00:24:07] So please do not ever be ashamed of not being perhaps on the frontline at our March. You are an activist every single day. When you walk into the classroom and you help these students, your students discover. And get curious and ask questions and make suppositions and learn that that is if I were, if I were queen honestly or Empress professional basketball players would be making $30,000 a year and teachers were making in the millions. [00:24:35] So, so I, I wanted to say that that's really important for me that you understand, I hold you in the highest regard because you've taken on what I consider to be a sacred [00:24:45] Adam Stokes: [00:24:45] task. Thank you. Thank you. I, I, I definitely, I consider it, you know, sacred as sacred as well. I, my mother was a teacher she taught for 40 years. [00:24:54]And I saw how she influenced people so much even years after. And [00:25:00] literally in the trenches of Baltimore, she literally saved some lives by the direction she was able to put students on. And so I always admired that about her. I mentioned to Mr. Butoh before, so. These are all people that I've looked up to. [00:25:12] And I, I definitely, I felt that their calling was sacred and I feel like teachers call them sacred now. And at least in America, I don't think teachers get enough praise. Oh, not, [00:25:21] Izolda Trakhtenberg: [00:25:21] not, not even a little I've spent, I've spent time working with teachers and I go into schools to teach. And one of my other gigs and teachers are heroes. [00:25:30] Every single one of you have. You're amazing. I, I want to, if it's okay to switch gears just a little bit and perhaps switch oceans, maybe cross an ocean and let's cross the Atlantic and let's talk about ancient civilizations on the north American continent. Honestly, this is something that I I've done some research before this interview, but I don't really know anything about it. [00:25:53] And, and yet I've been to snake canyon and I've spent time in the Southwest, but I would love to, to [00:26:00] speak with you a little bit about what, what that's about for you, what sparked your interest in ancient American civilizations and. What are your beliefs about these civilizations? Because there's some, there's plenty of stuff we just don't know. [00:26:15] So, so what do you, what got you started and, and what is your focus about that? [00:26:22] Adam Stokes: [00:26:22] Yeah. Happy to talk about that. So what got me started honestly is where was my where my religious views. And I'll say a little bit about that. So I was raised Baptist then For most of my life, then when I got to grad school kind of had a crisis of faith. [00:26:39] I didn't really have any affiliation for a few years. Then spent some time with the Quakers and then joined one of the latter day, Saint movements, not the main one that you know of in Utah. But I'm an elder in a, what's known as a church of Christ with the Elijah message and all of the latter day, Saint traditions, community of Christ the Utah [00:27:00] church the bicker tonight church we're all kind of how can I say what the. [00:27:06] Thing that holds us all together is our belief in something called the book of Mormon or the record of the fights as as my denomination calls it. And in that, in the book of Mormon, I'll just use the more common name. There's the idea that there were ancient civilizations that existed in north America and that at some point Jesus came and visit. [00:27:28] These ancient civilizations. Now that is a faith claim. I'm not going to argue for that one way or another here on this show, but I will say that it got me very interested in trying to see and trying to research what ancient American civilization was like, because I'm sure it's probably the same for you, but when I was growing up basically when you asked about ancient American civilization, you were told the pilgrims and they had a nice Thanksgiving meal with the native Americans. [00:27:56] And that was it. Now you knew a little bit about south America [00:28:00] with the Mayans and the inkind, but no inkers, but nobody and the Aztecs, but nobody ever really. Nobody ever really talks about north America pre 1492. So really my my interest in, you know, what can we know about ancient civilizations in America? [00:28:18]Stemming from my kind of religious background made me get into this topic and from my own research, from what I've been able to ascertain in north America had had just as much of a rich elaborate culture with a huge empire seeking of the empires of the Hopewell and the Edina peoples, just as extensive, just as amazing as the empires of south America. [00:28:45] Izolda Trakhtenberg: [00:28:45] That's fascinating. If that, if that is true, if we have civilizations in sort of more north of, of where the Mayans and the Aztecs and Incas were okay. [00:29:00] I, I let's see if I can figure out how to ask this question a few years ago, I visited eczema Pueblo in New Mexico, and it's, it's the most, it's the only continuously in existence town or city or community I should say for, since the 11th century. [00:29:17] Right? So, so they've been around for a while in part, because they're so isolated, they're up on a big rock in the middle of the desert. So, so those folks have been around and we have some sort of continuous records of, of that happening, but, but what are the records that show that, that some of the more in sort of Northern American civilizations were an existence? [00:29:44] When, and again, I don't, I don't, I'm, I'm asking, I'm not trying to be in pertinent or anything. I don't, I've never heard of primary sources that talk about the existence of these sorts of civilizations and, and peoples, [00:30:00] as you're talking about, please enlighten me. [00:30:02] Adam Stokes: [00:30:02] Yeah. That's, that's a really good question. [00:30:04] Most people have it. I mean, I hadn't heard of this until I started doing research for myself. There are not a lot of written records. Now we do have some inscriptions. Some Semitic inscriptions from some of the sites would suggest that some of these early north American campfires came from the near east. [00:30:23] And there's a lot of debate as to whether these inscriptions are forgeries or if they're legitimate, I tend to have, I tend to side on the view that they're legitimate. When you look at them with my background, I have a background in Semitic languages, Hebrew and Aramaic. So But not just a written records mainly through the archeological record. [00:30:41] So one of the things that I do as kind of the geek in me I travel around to various native American mounds. I have often taken my kids. I have a seven year old and a four year old. So I take them with me basically all the time. And they could kind of boil it to like, daddy's looking at his clumps of dirt again. [00:30:59] But [00:31:00] back in the day, thousands of years ago, they weren't actually clumps of dirt. They've been destroyed by by present president habit, the president habitats of, of, of the region. Now. Back in the day these mounds were huge and some of them were as big as the dimensions of the pyramids of Egypt and in the 19th century as people have still found this stuff, some of this stuff today there were excavated in at a lot of these mounds people or excuse me remains skeletal remains of people who seem to have been rulers are decorated with jewelry with all types of fancy items. [00:31:38]Also seem to have been slightly slightly to somewhat significantly taller than. Then modern human beings presently. So between seven to nine feet. So we know that these people were royalty of some type. They seem to rule the region around them, them. And we have this, not only from what we've been [00:32:00] able to determine from the archeological record, but also from just a tradition of native Americans, native Americans talk about people. [00:32:06] Well who were there, who were here before and contemporaneous with their ancestors and how these people basically. Yeah, basically we're the rulers of, of these different civilizations that you have in the Midwest and in the great lakes region et cetera. So short answer to your, to your question, to your really good question. [00:32:28]The archeological evidence and the oral traditions of the native Americans seem to strongly point to a acid empire in north America. [00:32:42] Izolda Trakhtenberg: [00:32:42] I grew up in Michigan and lived there until after I graduated from the university of Michigan. And one of the places that we went to was serpent mound. And and so that, and I remember being there and I could feel the energy of the place was different when you were nearby there, it was, [00:33:00] it just felt different than when you were a few miles away. [00:33:03] And so I, you know, they say that it's, that it was one of them was created by the Edina culture in like 500, 800 BC to somewhere around there. Can you talk about what the significance, because we don't exactly know why that serpent mound is there and I'm going to have to find a picture of it and put it up in the show notes for this, because. [00:33:27] You know, you, you can see that it's there when you're there, but really it's best seen from above. So, so can you talk about what the significance of the serpent mound is? Well, what is it first of all and what the significance of it is to someone like you, who studies north American ancient [00:33:44] Adam Stokes: [00:33:44] cultures? [00:33:45] Certainly, certainly. I have not. Sadly I haven't been to the serpent man. I've been to some others. I've been to the new work earthworks. I've been to the Fort ancient mound. I've been to the Edina mound in Kentucky. But I have not yet gone to the surfer mal, but it's something that I hope to [00:34:00] do. [00:34:00]Maybe a summer road trip with the kids. I will, I will do it. But yeah, the serpent mound is one of the longest Stretches just by it's by by feet, one of the longest, the mounts that exists in north America. And as you said, it's attributed to the Edina people who live between 500 BCE. [00:34:20] And I believe a hundred CE depending some people debate that some people say 500 BCE to 400 CE. They're saying two major cultures in that region, your team and the hope. Well, and they seem to have fought with each other. We don't actually know their original names. Hopewell and Edina were much later names given to them named after the people who who basically found found their relics. [00:34:45]So we don't know what their original names were. But yeah. So this serpent mound yeah. It's, yeah, it's pretty amazing. It's really something that you can only see really well, just like the new work mound from above when you're actually there. [00:35:00] You you can't really see it very well. But we don't know why that that circuit is there. [00:35:05] There's a, there's a bunch of theories about that that this circuit may represent some form of Gnosticism or Gnostic religion amongst the Edina. The Edina, I should mention along with the hope. Well, a lot of people, including myself, have speculated that their origins come from the near east. [00:35:23] So this could represent a reference to the biblical serpent tradition. Where you had you have the circuit featuring featuring prominently the beginning of the old Testament in the books of Genesis or it could be the Gnostic serpent who provides who provides wisdom. So in the ancient, near east in ancient, near Eastern context, serpents, as well as women were understood as harbingers of wisdom. [00:35:48] That's why in the Genesis story, he is talking to the serpent. The serpent's not interested in the guy because a servant doesn't feel like the dude is all that wise, but he is talking to the woman because they're kindred spirits because [00:36:00] they're both seen as harbingers of wisdom. So a lot of scholars Zelda have said, you know, we're not sure what all of these mounds symbolized, but they were possibly used for ceremony or religious purposes and maybe some type of Gnostic ritual, Gnostic, religious purpose. [00:36:18] Was was evident at the serpent mound. But something, I think this points to basically a large issue, she, that, you know, a lot more work now you have great archeologists in the field of American archeology, gee, but a lot of this stuff has really kind of, kind of been overlooked. And you know, I think when you get to the mountains, a lot of archeologists are content with the, with the explanation that they're just ceremonial and don't really go into more depth with them. [00:36:46] So I think that a lot of the new researchers out there, including myself are trying to, you know, really get into this and say, you know, yes, we see that there's this funky symbol here, but what can we possibly determine about it? Is it more [00:37:00] than just if it is ceremonial, what is a ceremony per se? Can we reconstruct any idea of what of the religious use of, you know, this particular Mount site or that particular Mount site. [00:37:14] Izolda Trakhtenberg: [00:37:14] I'm taking it all in for a second. Cause there's, there's so much to what you just said. So here I am, I am looking at the serpent mound or some of the other bandolier in, in New Mexico. Some of these places where people have left an indelible mark, that they were there, whether or not we know what it meant, somebody went, I'm going to, I'm going to let you know I'm going to have this, you know, for posterity, if you will. [00:37:41] Not that they necessarily meant to do that, but it was, it was a way of marking what was happening there. And a few years I go to Ireland a lot. And when, when we were traveling, et cetera, et cetera. But yes, I go to Ireland a lot and I've spent time at the hill of Tara and it's and Newgrange. And, [00:38:00] and so Newgrange is 5,000 years old, or even older than that, maybe 7,000 years old. [00:38:04] I believe it's 5,000 BCE is when it was built over, over time, of course, but Well, again, there are things there that when you, when you're there, there, there are at the, at the winter solstice in Newgrange, for example, you are going to see the sun shine in at the winter solstice. And the two days around that date, the shines in all the way down 90 meters into the central alternatives, the only time of the year, it does that. [00:38:33] So they knew to build it that way. And the same thing happens on the equinoxes into loom in Mexico, the same kind of somebody went, you know what? We honor this so much that we're going to make this happen and Stonehenge and other such structures, if you will. So do we have any instance of this in. [00:38:58] This part of Mexico. Yes. [00:39:00] But, but we're talking here specifically about sort of, I think the America's in the north American part of north America. And I hope, I didn't just say something really insulting to anyone who lives in Mexico, but I, I guess what, what would now be considered the United States or Canada? [00:39:14] Do we have anything like that? Here that we can point to and go, yeah. There, somebody put, thought that sort of thought into this, this the placement of, of these mounds or these or these structures. [00:39:30] Adam Stokes: [00:39:30] Oh, yes. So there is a researcher Sarah Farmer, and she goes into kind of into much more detail than I can about basically the astrological alignment of many of these mounds. [00:39:42]And she argues that both with the solar lunar calendar they are aligned so many of these seem to be astronomically aligned. So suggesting that, you know exactly the exact There was an exact specific purpose to building these mounds. Last October I [00:40:00] was for a church conference in Kentucky and I got to see, I mentioned this before the Edina mound there and the Edina Mount in Kentucky in Lexington, Kentucky is really interesting because you can't see it any, you can't see this exactly any more because the river is dried up. [00:40:15] But thousands of years ago, there was a river that ran parallel. To the man. So there's a small mound, there's a river, then there's a small man and then there's a bigger Mount next to it. And this is interesting because we know some people some other scholars have written on this as well. [00:40:35]Such as Dr. Greg little but the river was seen not just in native American thought, but you get this in the Bible as well as the transition between life and death. So it is believed that the river was either the river of pre mortality where the soul slowly start to make, makes it makes its way into the worlds. [00:40:58] The so moves from the river to the [00:41:00] small amount. And then the big man which represents human existence, or it could be the opposite way of the so leaving. The physical the physical realm with the big mound Benchley entering the realm of the dead and then crossing over in to the afterlife with the river. [00:41:17] We're not quite sure either interpretation could could be argued for. But in that instance I think is an excellent example where this Mount is where you have Mount building. That seems to be deliberately planned. They deliberately plan to build this mound near this river to kind of reflect a, a spiritual, a spiritual belief. [00:41:36] They had [00:41:37] Izolda Trakhtenberg: [00:41:37] some sort of a crossing over like the river [00:41:38] Adam Stokes: [00:41:38] sticks. Yes, exactly. In Greek mythology. That's a really good example. [00:41:43] Izolda Trakhtenberg: [00:41:43] So going back to this, this, this notion of the modern lessons that we can learn, I, I was at a conference many years ago with Daniel Hillel. I don't know if you know who he is, biblical scholar and soil scientist. [00:42:00] [00:41:59] And one of the things that he said. Was that when you look at the old Testament in the Aramaic, that it's not dominion over the earth and the animals that it's more like stewardship or caretaking, and it changes everything. If you, if you start describing that, that, that the notion of being caretakers, rather than having dominion over our environment, over the beans we share the planet with it changes that notion of virtue and that notion of how, how responsible we are not to, but for all of the different, incredible natural resources we have. [00:42:36] So when you're working and you're an Aramaic scholar and a Hebrew scholar, when you're working on something like that, when you're looking at these old documents, can you talk a little bit about that notion of, am I choosing the right words? What do I have to do to make sure that I bring across the actual meaning. [00:42:56] Of what is being said when something like dominion versus [00:43:00] stewardship or caretaking has made such a significant difference in how many people view our relationship to the planet we live on. [00:43:08] Adam Stokes: [00:43:08] Yeah. Yeah. I mean, there's a really kind of, I think it's an excellent example of kind of a negative history of interpretation. [00:43:15]People taking the Hebrew term actually is Michele. So it means like exactly, like you said, nurturing. Tender care for the environment. And you see this elsewhere in the Hebrew Torah in Leviticus, this is something I talk about with my, with my students in my old Testament class, this environmental ethos that Leviticus has that we read Leviticus, we read Leviticus 18 and we're like, oh crap. [00:43:42] There's a lot of stuff in Leviticus that yeah, that is problematic. But the thing that goes overlooked and I try to emphasize this for my students. I'm like, don't, don't just skip Leviticus because in the video case, yes, you got, you had some bad stuff, but also in Leviticus you have this really strong environmental ethos where the [00:44:00] children of Israel, the  Israel are supposed to take care of nurture the land. [00:44:07] And if they don't if they don't tend to the land and the land needs. They are punished by God for doing that. So it's a much different view than what has kind of emerged from Western readings of the Bible. We tend to interpret we intend to interpret that language as I think, you know, it's a misreading really that comes from Greek and Latin translations of the Hebrew Bible, reading Michelle reading, excuse me, sorry. [00:44:34] Reading my law for Michelle. So I'm a lock means to rule. This is where we get the word Malek king from. So to rule over and have dominion that gets translated in the Septuagint. And in the Vulgate as to Lord over. So dominatrix in in Latin. But that is not what you get in the original in the original Hebrew. [00:44:56]And so I try to, wherever I see [00:45:00] stuff like that, I try to emphasize and highlight that in my discussion with students and also in my book, there's a chapter in perspectives that deals with kind of the environmental ethos of, of the old Testament. And I think there's a way to navigate that if you give to students too much Hebrew, if they didn't go to Hebrew school or something, they're going to get overwhelmed. [00:45:19] But I think that in instances where, you know, I think this is an excellent example that you brought up where it is definitely relevant and has had, you know, the fairest consequences in the way it's been interpreted. I think you can bring in Hebrew and the, the students are able, are able to understand that and they feel really good because they feel like they know a little bit. [00:45:36] Yeah. [00:45:38] Izolda Trakhtenberg: [00:45:38] And I lived in Israel for seven months when I was a child and, and a Hebrew is not an easy language, so it's really, it's it's wonderful. Now, nowadays I can say  and Ken and lo and that's it. That's all I remember. But, but let's, let's talk a little bit, actually, if you don't mind about some of your [00:46:00] publishing work, when, when you're, when you're doing it I I've written books and I got to tell ya non-academic publishing is very different than academic publishing. [00:46:09] Can you talk a little bit about, cause I know there's this notion of publisher parish and all of that, but can you talk a little bit about what academic publishing is and what your experience of it has been. [00:46:22] Adam Stokes: [00:46:22] Yes. Yes. So academic publishing is I would totally agree with you. I'm Izolda is a whole different ball game than non-academic publishing, just because you have, how can I put it, your subject? [00:46:40] Your, your topic is so limited. So even if you're dealing with the Hebrew Bible or the old Testament, most people who are writing about it are specialized in their particular field. So my work I didn't finish my PhD, but when I was working on my PhD, my subs, my focus was on the book of job. [00:46:58] Now here's the problem, [00:47:00] which is that everybody who has a specialty in your field is trying to write a book on the book of job, same thing in the classics. So. There's a district joke among class assists that, you know, everything that's been written about Homer has, has already been written. So there's no need to write anything else. [00:47:17]But there's more stuff published on Homer and on the Iliad and the Odyssey than in any other academic field, including the sciences and cleaning biblical studies et cetera. So you're always trying to your big task is to try and find something creative and new within a field that within a topic that has been written on extensively. [00:47:39]And a lot of times you're not gonna really be able to find anything super new or super innovative, but what you can find Izolda is that what you can do is bring your own perspective. To it, a perspective that hasn't been brought to brought to the material before I think in the classics that you see a [00:48:00] great example of this in several recent publications, several recent translations of the India and the Odyssey done by women, Emily, Montgomery. [00:48:08] Yeah, I believe. But just you know, kind of taking, you know, her experiences as a female class assistant, bringing that to her translation of the Greek and you start to see things, you start to at least start to look at the texts in a way that you haven't you haven't ever looked at the text before. [00:48:27] So that is the main challenge. That is the main challenge. To to writing in academia. The second challenge is that everything in academia for good or bad gets peer reviewed. So I remember the first project I ever worked on was a commentary for same book I'm actually working on. [00:48:48] Now I'm doing a project on now. I mentioned before for the NRSV but the. There was a commentary that I was writing for a book called the Africana [00:49:00] Bible, which was basically black American perspectives on the old Testament. And I had to write on the additions of Daniel, which is one of the books of the Apocrypha, which is included in the Greek Bible, but it's not part of the original Hebrew text. [00:49:14] I wrote my contribution. I had worked on it for several months. I wrote it in 2006 and it went through multiple peer reviews to the point that the final work wasn't published till around 2010. So it can take a really long time with all of the reviews and edits to get, to get something published. [00:49:38]Now the good thing about publishing in academia, I've been working with something a publisher called Nella press for about three or four years now. Wonderful. Wonderful. Wonderful printing press. They have some great academic stuff. And the great thing about working with an academic publishing is that usually if you have a good publisher, like I have, [00:50:00] they're going to give you access to all types of resources that you wouldn't have even in your own home library. [00:50:06] So you get to access databases with thousands of thousands of things. And so you have basically a plethora of resources from which to kind of formulate your own work. But it's not an easy process. There's a lot of peer review this, a lot of them saying, you know, this, distincts go back, fix this up, submit it again. [00:50:29] Over and over and over again. But if you get through it it can be, it can be a very rewarding experience. [00:50:35] Izolda Trakhtenberg: [00:50:35] So interesting that you said that I'm glad it's a rewarding experience. It would make me tear my hair out just because what happens when someone says, oh, this part is bad or this part is good or whatever, whatever the corrections or notes that they have, what if you disagree or is it incumbent upon you to change it because they said you had to, or can you sort of stick to your guns and go, no, I really believe this. [00:50:57] You [00:50:57] Adam Stokes: [00:50:57] know, that's a, that's a great question. [00:51:00] A lot of times what I have learned sometimes the hard way is to pick and choose your own battles. Sometimes. If I feel very strongly about something. So there was a whole article that I wanted to put into my perspective of the old Testament book on Deborah, who is one of the female judges in the old Testament. [00:51:21]And there was a little bit of a pushback, you know, why can't we have an article that talks about, you know, the judges in general while I was like, my specific point is to, you know, highlight a female judge. Now we've all heard of Samson. We've heard of Samuel, but we haven't heard of Deborah that much. [00:51:35] So I pushed back on that and I was able to get it. Into my Valium. Other times I've submitted stuff and I've been, you know, I've been like, you know, this work is, is so important. I at least want to get this subject matter. I just want to get this perspective out that what pops out, what ends up on the printed page looks significantly different than what I first wrote down, but [00:52:00] that I was able to get the general idea out. [00:52:01] I made some compromises, but I was able to get the general idea. So you gotta, you have to pick and choose your battles. Hmm. [00:52:08] Izolda Trakhtenberg: [00:52:08] Yeah, again, that would make me tear my hair out. So this is, this is sort of shifting gears just a little bit if it's okay. Sure. This is a little bit about the tools of your, of your trade. [00:52:20] So you're, you're a scholar and your teacher and you're an author. And all of that is great. I worked at NASA for many years and one of the things that I remember fascinating me a few years ago, I heard about using satellite data. They were able to due to the amount of phosphorus in soil in a certain spot that wasn't supposed to have any kind of premium. [00:52:43]Town or village on it, they found an entire village hidden under 30 feet of soil, essentially. So when you're doing that, and to me, that's super exciting because then they were able to find all of these incredible sort of archaeological mysteries solved because of [00:53:00] why, why was there so much phosphorus? [00:53:01] Oh, that's because there was a human settlement there. So, so what are the tools that you as a scholar use, are you using that kind of, of, you know, LIDAR or some other kind of satellite data to learn about some of these ancient historical places in, in north America? Or are you finding your sources being secondary sources and you go from what some of the other data collectors have [00:53:27] Adam Stokes: [00:53:27] done Haley secondary sources is ODA, mainly secondary sources. [00:53:32]LIDAR is amazing, but usually you have to be working within the context of academia. To have resources for that professors tenured professors spend years writing grants just to get access to that stuff. I, I don't have that type of access. I have, I do teach at in an academic institution but I don't have that type of access. [00:53:54] So a lot of my work comes from what some dude with a light, with a LIDAR ground penetrating [00:54:00] radar has done and written up about his or her research. And so I do that a lot of my stuff is very much old school. I have various Books on the subject by experts, many of those experts in my friends. [00:54:14] So I will contact them and say, you know, Hey, you wrote this, is this what you meant? Or what can you tell me about this? So I basically have a bunch of, you know, concurrences and in fact, a PDF as an articles basically in my library at home that I use. But I also, I, I do the millennial in me also uses digital sources as well. [00:54:36]But that's more limited than say if I was a tenured professor, I have access to some of that stuff. But not as much as if I was a tenured professor. And again, the nice thing. Once you start writing for a particular publisher they will give you what would cost you normally hundreds, if not thousands of dollars to have a subscription, to something like J store or something like that [00:55:00] they will give you access to that. [00:55:01] So I try to take advantage. Whenever I can. [00:55:05] Izolda Trakhtenberg: [00:55:05] Okay. Cause I was just wondering it's it's so I remember doing some of that work when I worked at NASA and seeing some of the results and just, I thought it was so fascinating to watch finding those kinds of, of touchstones. I, I guess I'll say to, to these ancient peoples is incredible. [00:55:26] Have you found anything that has just proven false? Have you gone? Oh, I had my hopes up and this is just wrong. This is just not supported at all. [00:55:36] Adam Stokes: [00:55:36] Yes. Yes. So there was we should have been proven wrong before. There was a Finding in the late 18 hundreds known as the Kindle hook plates, which were supposed to be re was supposed to be a written document about the history of ancient America. [00:55:51] There's a whole story background story with Joseph Smith in the Mormon church with these plates and people over the years, they were proved [00:56:00] to be hoaxes basically in like a year or so after they were supposedly found. But people through the years have tried to argue for them for their authenticity. [00:56:10]And I really don't see it, which is disappointing because it would be really cool if they were real, because it gives more insight into the history of, of ancient America. But I don't think that they are and you're, and you're gonna, that's going to happen a lot of times. So sometimes just going to find a dead end and the best thing you can do is just turn around and try again. [00:56:29]But overall, I've been more amazed by what I have been able to find. That's turned out to be legitimate or, you know, have some. Something that can be verified rather than something that proves to be false. [00:56:48] Izolda Trakhtenberg: [00:56:48] So what's next for you? I know that you're in the middle of writing a book and you're also teaching w if you could do anything, if, what, what would you be doing right now? [00:56:57] What, what, what dig would you be on? What [00:57:00] writing would you be doing? [00:57:01] Adam Stokes: [00:57:01] I would be probably at a, I'd probably be at the serpent mound or one of the mountains, Mississippi. Doing doing research there if I could be anywhere right now. So I would love native American mounts is, is something in the past couple of years that I've kind of become my obsession. [00:57:18] So I would love to love to be doing that. But yeah, at the present time I am working, like I mentioned the, on the on the project, the commentary on the additions to Daniel for a new project with the NRSV I'm also a monthly contributor to a magazine ancient American magazine. [00:57:38]So I have an upcoming an upcoming. A segment in there on the low side Luna's stone, which people have argued as a hoax, but there's seems to be a lot of evidence in its favor. And I talk about that. And then I'm always my a latter day Saint faith is very, very important to me. So I'm always kind of writing either reviewing somebody else's book or giving my own [00:58:00] insights into a latter day, Saint history and theology. [00:58:04] So those are the main things that that I'm working on that I'm working on right now. [00:58:10] Izolda Trakhtenberg: [00:58:10] That's lovely. Very cool. Well, I, I know that I, I, you and I could be geeking out about mythology for the next six hours, but I know you have a life and a day to get back to, so, so I would love it. If you would do me a favor and can you give sort of your social media links or where, if somebody wanders to know more about your work or follow you online, would you mind just giving those so that I'll put them in the show notes, but it's always really helpful to have more than one way of finding the information. [00:58:37] Adam Stokes: [00:58:37] Absolutely. Absolutely. So I have in addition to being a full-time Latin teacher high school, I'm also a Latin tutor and I have a webpage for my business on Facebook. If you go to Facebook and type in lingua, Classica, that's the name of my business. And I put in a lot of my work and just general stuff about Greek roots [00:59:00] and yeah, Greco, Roman mythology on that side. [00:59:02]So there's a lot of fun stuff on that side. If you're just interested in the Greco-Roman world. I put stuff on there all the time, and then I also have an Instagram account Adam, the giant guy where I put photos of different mounts that I've visited. I put up information about ancient north America and also some fun stuff as well. [00:59:21] So there's pictures of my kids and stuff on there as well. So those are the two, those are my two main social media. [00:59:29] Izolda Trakhtenberg: [00:59:29] Fabulous. That's wonderful. Thank you so much for doing that, Adam. You know, it's interesting. I'm in the middle of revising my next book and it's a mystery novel and Roman mythology plays a role and I had to translate from English into Latin and it's too bad. [00:59:44] I didn't know you back then because it wouldn't be, my Latin is probably just atrocious. So you might not ever want to read the book, but [00:59:51] Adam Stokes: [00:59:51] I would love to read the book. [00:59:54] Izolda Trakhtenberg: [00:59:54] Yeah. Roman mythology plays a big role in the books, so but but yeah, it was really, [01:00:00] it was fascinating to go. How on earth do I translate something that is very much modern sounding the Lang I was speaking in modern English. [01:00:08] Yes. And have it sound properly conjugated and the appropriate translation into Latin. And I'm sure that I'm way off. Oh, well, [01:00:19] Adam Stokes: [01:00:19] well, I was just have to go look at it and I'll criticize you if you are, [01:00:23] Izolda Trakhtenberg: [01:00:23] but it won't be, I reviewed because you obviously know so much more about this than I do. You're not like I'm not your peer you're way past your way past what I, what I know how to do. [01:00:32] Well, Adam, I want to thank you so much for being on the show and for taking the time to talk about this. This is it's so fascinating to see how these ancient peoples and ancient knowledge can be really informative to us today. I'm so grateful that you took the time. [01:00:48] Adam Stokes: [01:00:48] My pleasure. I love talking about this uptight. [01:00:50] Thank you so much for having me. It was, oh, [01:00:53] Izolda Trakhtenberg: [01:00:53] it was absolutely a delight. I have this one last question that I want to ask. It's a silly little question, but I find [01:01:00] that it, it yields some poignant answers and here's the question. Are [01:01:03] Adam Stokes: [01:01:03] you ready? Certainly I will go for it. All right. [01:01:05] Izolda Trakhtenberg: [01:01:05] So if you had a plane that could sky write anything for the whole world to see, what would you say. [01:01:16] Adam Stokes: [01:01:16] I think, I would say carpet diem in the words of Robin Williams seize the day. And the reason I would say that is because so often we spent so much of our lives, you know, thinking. That things will happen to us. I'm not saying that good things won't happen to us, but a lot of times I've been guilty of this in the past. [01:01:37]When we take initiative, we will be surprised at how doors opened up for us. So don't be afraid to, you know, get all out of your day. [01:01:46] Izolda Trakhtenberg: [01:01:46] Oh, I love that. And I love that you quoted dead poet's society. It's one of my favorite movies. Oh, such a brilliant, brilliant movie. And if you haven't seen it, I'm going to put a link to that in the show notes too, because if you haven't seen it, you need it. [01:01:59] Adam Stokes: [01:01:59] What are [01:02:00] those films you need to see before you die? Absolutely. Yeah. Oh, [01:02:02] Izolda Trakhtenberg: [01:02:02] completely. Really just tremendous. And when I was talking to you about professor Cameron at the university of Michigan, he was that kind of professor, the kind of teacher Robin Williams is in dead poet's society. Cameron was that kind of teacher at the university of Michigan. [01:02:14] So that's awesome. I highly recommend the movie and also go find the works of Adam Stokes and the works of HD Cameron. And. Read the Odyssey, because it's a great story, regardless of anything else. It's a cool story. All right. This is all the Trakhtenberg for the innova

Brothers Phil & Warren are gonna need a bigger boat to deep dive into the godfather of blockbuster movies, “Jaws”. Topics include: the genesis of the idea & Spielberg's adaptation of the novel (2:45), the famously troubled production & Williams' iconic score (13:50), the stars of the picture (25:55), stats & accolades (39:35), best scenes & lines (49:55), Judge Bob's recasting court (1:08:30), and the film's legacy & lore (1:28:35), plus much more.

Brothers Phil & Warren are gonna need a bigger boat to deep dive into the godfather of blockbuster movies, “Jaws”. Topics include: the genesis of the idea & Spielberg's adaptation of the novel (2:45), the famously troubled production & Williams' iconic score (13:50), the stars of the picture (25:55), stats & accolades (39:35), best scenes & lines (49:55), Judge Bob's recasting court (1:08:30), and the film's legacy & lore (1:28:35), plus much more.

Dr. Elizabeth Benchley joins the Pensacola Morning News to discuss the differences between the Spanish and British colonies in Pensacola.

Just in time for the holidays! Join Lisa Birnbach as she discusses Open Studio: Do-it-yourself art projects by Contemporary Artists. The new book and home art project book by Sharon Coplan Hurowitz & Amanda Benchley.Sharon and Amanda's 5 Things: 1. The Met (Metropolitan Art Museum), 2. Central Park, 3. Sant Ambroeus 4. The Public (Theatre in NYC), 5. Friendships.Lisa Birnbach's 5 Things: 1. The Vaccine, 2. The Electoral College, 3. Dr. Jill Biden, 4. Clogs, 5. Creativity.

In three years of Adapt or Perish, we've never missed an episode. Until today. 2020 finally got us! Our look at High Fidelity will still be coming, but in two weeks, on Tuesday, December 1. In the meantime, we thought we'd rerun one of our favorites: Jaws. Enjoy! For this episode, we watched and discussed: Benchley’s original novel, published in 1974. The 1975 movie, directed by Steven Spielberg, and starring Roy Schneider, Richard Dreyfuss, and Robert Shaw. Footnotes: Thalassophobia: an intense and persistent fear of the sea or of sea travel. Fish vs. Cetacea  Bears Not Attracted to Menstruating Women  from Live Science “Bitch eating crackers” The “Father and Son” scene from Jaws The USS Indianapolis John Milius Jaw 2, Jaws 3-D, Jaws: The Revenge, and Jaws 19 Lorraine Gary and Sid Sheinberg You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

I Thessalonians 4:1 Leaving our first love Ephesus timeline Paul's second journey: Acts 18:19-21 Paul's third journey: Acts 19 Paul's…

Personal notes: Today is Jesse Jenkins' last Sunday as a local preacher at Benchley. He's been working with the church in Benchley for 2…

From the mid-1700s to the mid-1800s, Nantucket was the world’s leading whaling port. But the island’s east and south coasts remained devoid of lighthouses well into the 1800s, in spite of the high volume of shipping traffic passing the island and the presence of dangerous shoals offshore. Finally, in the late 1840s, a bluff at Sankaty Head in the village of 'Sconset on the island's southeast coast was chosen as a lighthouse site. A 53-foot brick lighthouse was built and a second-order Fresnel lens was installed. The station was automated and destaffed in 1965. In 1990, the Army Corps of Engineers estimated that Sankaty Head Light would be in danger of falling over the eroding bluff within ten years. A move was completed in the fall of 2007. The ’Sconset Trust is responsible for the upkeep and maintenance of the lighthouse and its grounds. Sankaty Head Lighthouse, photo by Jeremy D'Entremont Rob Benchley is now the modern-day keeper of Sankaty Head Lighthouse. Rob is an accomplished photojournalist who has been the staff photographer for three island newspapers, and his photography has also been featured in the New York Times and the Boston Globe. His books include Scallop Season, a Nantucket Chronicle, co-written with Jim Patrick; Sconset, co-written with Richard Trust; and Keeping the Light, about the historic move of Sankaty Head Lighthouse in 2007. Rob and his wife, Carol, a retired Nantucket schoolteacher, live in a house they built together in ‘Sconset with a view of Sankaty Head Lighthouse. Rob Benchley, photo by Jeremy D'Entremont

In this episode, we watched the movie Jaws, and read Peter Benchley's novel that inspired it. We discuss the comparisons of the novel and the movie, talk about the psychology behind our fear of sharks and the unknown. Take action NOW by signing the petition to protect the ocean and its creatures. Sources: Jaws. Steven Spielberg. Universal Pictures, 1975. Amazon Prime Video. Benchley, Peter. Jaws. New York, Ballantine Books Trade Paperbacks, 1974. "21 random facts about 'Jaws'". Brandon Griggs. CNN Entertainment. 2015. (web) "Why are we afraid of sharks? There's a scientific explanation." Elaina Zachos. National Geographic. 2019. (web) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

From Mayor Vaughn's mishaps to Quint's singing to Spielberg's bag of camera tricks, Jaws sizzles 45 years after its release. The Chumps dive into some of the fun facts they uncovered, Robert Shaw's hard living, and the wild differences from the book Jaws was based on. Plus, Corrye's big beef with the mother of one of the shark victims.

In Episode 91 of The Cinescope Podcast, Chad and Will Dodson talk about one of their favorite movies, Jaws! The Cinescope Podcast on Apple Podcasts The Cinescope Podcast on Patreon - exclusive weekly bonus content! Show Notes   Jaws Theme Song w/ Lyrics by Goldentusk - YouTube Jaws on Apple TV Jaws soundtrack on Apple Music   Stats Released June 20, 1975 Dir. Steven Spielberg (Close Encounters of the Third Kind, Raiders of the Lost Ark and the other Indy films, Schindler's List, Jurassic Park, Saving Private Ryan, Catch Me If You Can, Lincoln, War Horse, The BFG, The Post, Ready Player One, West Side Story) Written by Peter Benchley, Carl Gottlieb; based on the book Jaws by Benchley Music by John Williams (see Spielberg filmography + Star Wars, Harry Potter 1-3, etc.) Starring Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton Contact Will Twitter (@will_dodson1) Sideshow Sound Theatre Chad Twitter (@chadadada) Facebook Letterboxd An American Workplace | A Retrospective The Office Podcast Cinescope Facebook Twitter Website Email thecinescopepodcast@gmail.com Note: The iTunes links provided are affiliate links, meaning that when you click on them you help to support The Cinescope Podcast by earning it a bit of money. Thank you for your support! Special Guest: Will Dodson.

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

We talk. We drink. We movie. About the movies Jaws: Jaws is a 1975 American thriller film directed by Steven Spielberg and based on Peter Benchley's 1974 novel of the same name. In the film, a man-eating great white shark attacks beachgoers at a summer resort town, prompting police chief Martin Brody (Roy Scheider) to hunt it with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw). Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography. About Cathy; She is an amazing mother, wife and friend. We are all blessed to have her in our lives. Get at us: IG: @TalkingDuringMovies Email: TalkingDuringMoviesPodcast@gmail.com You can also find us on Twitter and Facebook

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

[Due to to COVID19 restrictions, we are doing things a little differently at Benchley and an audio recording is not available for this…

Benchley Alcindor (Animation!) in his basement. Music by New Swears Cover Art by AMthruPM Instagrams @bench_ley @broken_safehead @mullin.ryan @newswears @amthrupm

In this installment in our Lethal Literature series, we discuss JAWS, both Benchley's book and Spielberg's screen gem.

After publishing a few lackluster novels in the '80s, JAWS author Peter Benchley came back to aquatic horror in 1991. For many readers, BEAST felt like a return to form for Benchley. His story of a killer giant squid became a bestseller. And by 1996, the long tentacles of Benchley's BEAST had stretched all the way to network television. Today, NBC's THE BEAST is largely forgotten. But is this three-hour network television event worth another look? Listen to find out!

We turn around and travel back to a different time in the vault, joined by Illustrator and Comedian David Kantrowitz (@DavidKantrowitz) in a very educational section. We follow Benchley on a tour of Disney studios on his quest to pitch a story to Walt Disney- they’ll take any idea! We learn about animation, voice over, sound effects, storyboards, and sexism in the workplace.

I Peter 4:8 Find the common ground: Christ I Peter 3:8; Romans 12:18; Matthew 5:44 II Peter 1:1 Acts 11:19-26 Matthew 13:53-58 vs. Acts 2:…

Dans cet épisode estival, on compare Les Dents de la mer, un roman écrit par Peter Benchley en 1974, à son adaptation au cinéma par Steven Spielberg en 1975. Tandis que le livre a sombré dans l'oubli, le film de Spielberg est devenu un grand classique du 7ème art. Mais cette adaptation est-elle fidèle au livre original ? On vous invite à le découvrir dans ce nouvel épisode où l'on parle de requins, de plages et de vacanciers ! Si vous avez lu ou vu le film, n'hésitez pas à nous donner votre avis ! Retrouvez Adapte-Moi Si Tu Peux sur Facebook, Twitter et Instagram : https://www.facebook.com/adaptemoisitupeux/ https://twitter.com/adaptemoi_pod https://www.instagram.com/adaptemoisitupeux/

It’s been long enough since JAWS was released in theaters that there are people who may not be aware that it was based off a very popular novel at the time by Peter Benchley. Those familiar with the characters of Brody, Hooper, and Quint might be surprised to find how different the book’s versions are from the ones in Spielberg’s landmark film. Luke & James break the book down into four quarters and cover each chronologically.   Topics include: the story of how the novel came to be, Benchley’s turn to conservationism, the shark’s famous POV, info-dumps, the problematic representation of Ellen, the problematic rape fantasy, the effect returning to land multiple times has on the tension, Quint’s similarity to Ahab, Hooper’s different fate, and whether the ending felt satisfying.   Join them next week when they discuss Stephen Spielberg’s adaptation featuring Richard Dreyfuss, Roy Schneider, and Robert Shaw!   Ink to Film is now on Patreon! (Learn how to access bonus content) Sign up for Ink to Film’s Newsletter Follow Ink to Film on Twitter, Facebook, Instagram Home Base: inktofilm.com Ink to Film Book Club on Goodreads Sign up and get a free audio book: audibletrial.com/inktofilm Buy Jaws

Just in time for the Fourth of July, in this episode of Adapt or Perish, we discuss Peter Benchley’s Jaws! For this episode, we watched and discussed: Benchley’s original novel, published in 1974. Read on Amazon or iBooks. The 1975 movie, directed by Steven Spielberg, and starring Roy Schneider, Richard Dreyfuss, and Robert Shaw. Watch on iTunes or Amazon. Footnotes: Thalassophobia: an intense and persistent fear of the sea or of sea travel. Fish vs. Cetacea Bears Not Attracted to Menstruating Women from Live Science “Bitch eating crackers” The “Father and Son” scene from Jaws The USS Indianapolis John Milius Jaw 2, Jaws 3-D, Jaws: The Revenge, and Jaws 19 Lorraine Gary and Sid Sheinberg You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.

Visitors, continued: Survey of Benchley visitors Philippians 2:3-8 Beware of insider language and lack of info I Corinthians 9:19-23; 8:…

Introduction Acts 17:1-9 – The beginning of the local church in Thessalonica. The local church in Benchley was started October 23, 1994 in…

Bruce Cameron began his writing career as a humor columnist for the Denver Rocky Mountain News. Sadly, the Rocky went out of business, but he says that was not his fault. He is a Benchley award winner for humor and was the 2011 NSNC Newspaper Columnist of the Year. His novel A Dog’s Purpose spent 52 weeks on the NY Times best-seller list and DreamWorks has developed it into a film currently playing at theaters across the country. What you'll learn in this podcast: The amazing story of how A Dog's Purpose became such a huge hit The true message of the book and of our dogs What prompted the writing of A Dog's Purpose

Revelation 3 Acts 11:19-30 Do I stick to God's Word? Acts 11:20; 15:1 ff Acts 14:27-15:3 Acts 11:26 Acts 15:35 Am I truly converted to the…

Join the Editorial Baord and Staff of OTHER SCI FI Magazine as wediscuss whether movie or TV versions of books improve on the source material or wheter they be considered as separate entities? (Kingâ??s The Shining vs. Kubrickâ??s, Benchleyâ??s Jaws vs. Spielbergâ??s, Alan Ballâ??s True Blood vs. Charlaine Harrisâ?? Sookie Stackhouse novels, anything by Philip K. Dick vs. the movie versions.) Come join in the discusion and let your voice be heard.

http://www.MeaningfulHQ.com // Episode 069: Overcoming Procrastination - 3 Unconventional Methods That Work  There’s this Dutch survey that says 95% of people are chronic procrastinators.  I think the other 5% are liars. EVERYONE procrastinates sometimes. Some people are just better at containing it than others. "How do I get over my bad habit of procrastination?" That question - or some variation of it - is one of the most common queries about the topic of productivity ... And it'll probably stay that way for another thousand years — or until we all becomesuper productive transhumanist robo-peeps — whichever comes first.  We’ve all got our own little reasons for procrastinating…  I've got this make-it-or-break-it project to work on right now... BUT FIRST, I've gotta manually create an index in my Moleskine for all my blog post ideas. My taxes are due tomorrow... BUT FIRST, I should probably clean up the kitchen; it's a total mess in here. I've gotta write + publish this article about the 10 reasons why Bruce Jenner is a total weirdo... BUT FIRST, let me catch up on some 'House of Cards' real quick. And it goes on and on ... Until you catch yourself and consciously decide to stop the train and get off in favor of what needs to get done RIGHT NOW. Some of us can jump off the procrastination train and get to work immediately ... The vast majority however, end up flying into a shiny but non-essential task like a moth in a bright room... Next thing they know, they've totally lost track of what was supposed to have gotten done that day. Any of the above sound familiar? If yes, then stay with me ... because you, my friend, are about to learn some very unconventional (and super powerful) methods for getting over procrastination. Including a particularly interesting method that involves the power of — get ready for it — “positive procrastination.” But we'll talk more about that in tip #2. For now, let’s dive into the first method (before you decide to procrastinate on reading this article.) #1. Never Be Prepared. Here’s an example of a reason I always used to come up with to rationalize my own procrastination problem: “I’m a perfectionist” or, “it’s gotta be perfect.” This of course, was just a pretty way for me to avoid admitting my fear of failure.  You and I both know it’s never ever the perfect time or place to do something.  Wanna know how I overcame this problem?  First, I realized that the biggest thing holding me back from accomplishing the things I wanted most out of life was my obsessive attachment to perfection. Next, I realized that the reason I called myself a “perfectionist” was because I was afraid of what might happen if I failed at something (what would they say?) Finally, I came to the realization that I can never be fully prepared for anything in life. But I can always be ready. And that became my motto: “I’m never prepared, but I’m always ready.” Never prepared. Always ready. Same goes for you. METHOD #1: NEVER BE PREPARED (Be ready instead.) The next two tips and “hacks” come from the habits of unintentional efficiency experts of the past. QUICK NOTE: DON'T PROCRASTINATE ON READING FINISHING THIS ARTICLE, DAMN IT! No, you won’t “read this later.” All of us over-estimate our capabilities. We commit to dinners and events 3 months from now, thinking that we’ll have more free time in March than we did in January. Does that ever happen? Not for me. At least not often enough. If you convince your brain that you’ll read this later, what will happen is this: it’ll just get buried along with that other pile of shit you tell yourself you’ll do later. But this is not shit. This is your life. Your beautiful, totally awesome and meaningful life. Do not let your dependance on future time derail you from experiencing your life to the max. If nothing else has worked for you so far, this little list of tips will... Believe that and you’ve already won half the battle. #2. The Power of Positive Procrastination. Robert Benchley, a humorist + writer for The New Yorker, once wrote an essay in which he explained how he was able to develop the self-discipline to everything below in one sitting: read a scientific article about tropical fish,  build a bookshelf,  arrange books on said shelf, and respond to a letter from a friend that had been sitting on his desk for 20 years. According to Benchley, all he had to do was write up a to-do list for the week and put the aforementioned tasks *below* his *top* priority… which was to write an article. In his own words, Benchley wrote: “The secret of my incredible energy and efficiency in getting work done is a simple one … The psychological principle is this: anyone can do any amount of work, provided it isn’t the work he is supposed to be doing at that moment.” Translation: procrastinators tend to avoid doing one task by doing another, and very rarely do they ever sit still.  METHOD #2: USE THE POWER OF POSITIVE PROCRASTINATION. (Shoot for the moon, land amongst the stars.) #3. The Nothing Alternative. A novelist named Raymond Chandler pioneered “The Nothing Alternative” as a method of defense against procrastinating on his daily prose. Chandler couldn’t commit himself to cranking out 250 words every 15 minutes like writer Anthony Trollope. So he decided to literally wait around for inspiration to strike…  Personally, I find that inspiration never strikes while waiting around. Instead, I’ve found that inspiration strikes when I’ve cultivated a habit of consistency — to work, to write, to record — every single day. In the beginning, the work sucks a lot and often. But the more you do it, the better you become at it. But this isn’t the kind of “waiting around” Raymond Chandler used to do. His method of “waiting around for inspiration” was to set aside 4 hours every morning and give himself an ultimatum: Write, or do nothing at all. In his own words, Chandler said this about writers who suffer from procrastination:  “He [the writer] doesn’t have to write, and if he doesn’t feel like it, he shouldn’t try. He can look out of the window or stand on his head or writhe on the floor, but he is not to do any other positive thing, not read, write letters, glance at magazine, or write checks.” […] “Write or nothing. It’s the same principle as keeping order in a school. If you make the pupils behave, they will learn something just to keep from being bored. I find it works. Two very simple rules, a. you don’t have to write.  b. you can’t do anything else. The rest comes of itself.”  That’s The Nothing Alternative, right there, and you can use it on pretty much any task to make procrastination a problem of the past.  Your own work might not be as simple and clearly defined as Chandler’s, but you can certainly benefit from the clarity that comes from setting aside the time to focus on your ONE most important thing.   To try this out for yourself, figure out your most important goal for tomorrow morning and set aside 90 minutes of totally un-interrupted time to focus on that goal. No email. No smart phone. No non-sense. No Facebook, either. Shut-down your wifi if you need to. This is your time to turn it up to high gear and fucking focus. METHOD #3: USE THE NOTHING ALTERNATIVE. (Do or die.) Quick recap: 3 Unconventional Methods For Overcoming Procrastination1 #1.  Never Be Prepared. (Be ready instead.)  #2.  Use The Power of Positive Procrastination. (Shoot for the moon, land amongst the stars.) #3.  Use The Nothing Alternative. (Do or die.)   SOURCES FOR THIS ARTICLE: Willpower: Rediscovering The Greatest Human Strength by Roy F. Baumeister & John Tierney Dutch Study: de Ridder, D. T., Lensvelt-Mulders, G., Finkenauer, C., Stok, F. M., & Baumeister, R. F. (2012). Taking stock of self-control A meta-analysis of how trait self-control relates to a wide range of behaviors. Personality and Social Psychology Review, 16(1), 76-99. ###  LIVE LIKE YOU GIVE A DAMN. -Dean Bokhari   

God ordained that elders should be appointed in every congregation where qualified men can be found. Benchley presently has two elders…

Extrait de « Le Supplice des week-ends » de Robert Benchley • Lecture par Les Livreurs • www.leslivreurs.com •

We talk about Dorothy Parker Dorothy Parker Dorothy Parker. We also touch on Geoff Dyer, Robert Burton, Ring Lardner and Robert Benchley. Also Harry Potter.    Further Readings DOROTHY PARKER! Biography The Collected Dorothy Parker Paris Review interview   Robert Burton The Anatomy of Melancholy In Our Time podcast on The Anatomy of Melancholy   Geoff Dyer Books we talk about:  Zona Out of Sheer Rage But Beautiful Otherwise Known As The Human Condition: Selected Essays and Reviews   Ring Lardner Short Bio Lardnermania   Robert Benchley Bio and Further Info   Edmund Wilson NY Times  Wilson’s review of Ulysses   Sinclair Lewis Babbitt  

This week, Zach is going to need a bigger boat, as we talk Jaws and the summer blockbuster. Jaws is a 1975 American thriller film[1] directed by Steven Spielberg and based on Peter Benchley's novel of the same name. The prototypical summer blockbuster, its release is regarded as a watershed moment in motion picture history. In the story, a giant man-eating great white shark attacks beachgoers on Amity Island, a fictional summer resort town, prompting the local police chief to hunt it with the help of a marine biologist and a professional shark hunter. The film stars Roy Scheider as police chief Martin Brody, Richard Dreyfuss as oceanographer Matt Hooper, Robert Shaw as shark hunter Quint, Murray Hamilton as the mayor of Amity Island, and Lorraine Gary as Brody's wife, Ellen. The screenplay is credited to both Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography. Show your thanks to Major Spoilers for this episode by making a $5.00 per month recurring donation. It will help ensure Zach on Film continues far into the future! During the episode, Stephen makes reference to a Steven Spielberg/George Lucas talk at USC. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

This week, Zach is going to need a bigger boat, as we talk Jaws and the summer blockbuster. Jaws is a 1975 American thriller film[1] directed by Steven Spielberg and based on Peter Benchley's novel of the same name. The prototypical summer blockbuster, its release is regarded as a watershed moment in motion picture history. In the story, a giant man-eating great white shark attacks beachgoers on Amity Island, a fictional summer resort town, prompting the local police chief to hunt it with the help of a marine biologist and a professional shark hunter. The film stars Roy Scheider as police chief Martin Brody, Richard Dreyfuss as oceanographer Matt Hooper, Robert Shaw as shark hunter Quint, Murray Hamilton as the mayor of Amity Island, and Lorraine Gary as Brody's wife, Ellen. The screenplay is credited to both Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography. Show your thanks to Major Spoilers for this episode by making a $5.00 per month recurring donation. It will help ensure Zach on Film continues far into the future! During the episode, Stephen makes reference to a Steven Spielberg/George Lucas talk at USC. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

Welcome to Dark Discussions, your place for the discussion of horror film, fiction, and all that’s fantastic. In 1973, author Peter Benchley had his now famous novel, Jaws, published to great acclaim. Inspired by a number of real life incidents of sharks attacking humans, the novel is the journey of three very different men who come together to hunt down a shark that has been terrorizing sunbathers and tourists of a small Northeastern American ocean community. Paramount Pictures and Steven Spielberg took Mr. Benchley's script and made one of the most terrifying and successful films in history. The story of the great white shark brings drama, horror, thriller, and action themes all together in one. The result defined the spectacle film and changed both Hollywood and cinema forever. The summer movie was born yet as time has passed, re-evaluation of such films has clarified that such films have as much to say as those considered more academic. With the 100th anniversary of Paramount Pictures, Jaws has been given a re-mastering. The new blu-ray and high definition release of the film comes to viewers this August resulting in arguably the greatest presentation of a now genre classic. Dark Discussions discusses the film and its many sidebars including its commentary on socioeconomics, the famous U.S.S. Indianapolis speech, how the 1970's made famous such iconic scientists as Jacques Cousteau, and why they think the film has continued to be loved today. Even if nostalgia is part of the film's appeal, whether by luck or skill, the tightly woven tale still feels as relevant today as it did in 1975. As always we welcome your comments: darkdiscussions@aol.com (written email or attached mp3 files) WWW.DARKDISCUSSIONS.COM

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In this special edition of the Shark Task Force, Dr. Guy Harvey interviews Wendy Benchley, the widow of Peter Benchley, author of Jaws. They talk about the impact of the movie 3 decades later, how shark catch and kill tournaments are becoming catch and release tournaments and why healthy oceans need sharks. For more information on the Guy Harvey Ocean Foundation, visit guyharvey.com.  For more on sharks, check out www.sharktaskforce.com. The Shark Task Force, why wait a whole year for just one week on sharks?