Podcasts about Boy

FROM THE VOID: Halle and Alison question how much reading material is appropriate to bring when nannying for a lifeless porcelain child as they ruin The Boy. Learn more about your ad choices. Visit megaphone.fm/adchoices

Get AudioBooks for FreeBest Self-improvement MotivationKill the Boy, Let the Man Be Born 2.0 – Inspirational SpeechStep into your strongest self. This powerful inspirational speech challenges you to let go of immaturity, embrace growth, and rise into the man you're meant to be.Get AudioBooks for Free⁠We Need Your Love & Support ❤️https://buymeacoffee.com/myinspiration#Motivational_Speech#motivation #inspirational_quotes #motivationalspeech Get AudioBooks for Free Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

So: Whether it was always intended and contracted, you told the “standalone with series potential” fib, or the public has simply demanded more, you now have to write a second book in the same world. How do you expand the world while maintaining the throughline of your story? And how might you know when you've over-extended? Guest Aparna Verma joins us to discuss the perils and potential of broadening those horizons. One of the most frequent ways to grow the world you show the readers is to literally expand the setting and follow characters to new locations, encountering new cultures, learning new things. But that's not the only option: Your characters also might be staying in the same place but uncovering secret societies, joining a new economic class, discovering magic, or otherwise encountering an aspect of their own environment they didn't previously have familiarity with. And either way, how can growing the world also spur character growth?  [Transcript TK] Our Guest: Aparna Verma was born in Rajasthan, India, and grew up in the United States. She graduated from Stanford University with Honors in the Arts and a B.A. in English. In 2021, she self-published The Boy with Fire, which quickly went viral on TikTok, and was later republished by Orbit Books as The Phoenix King in 2023. When she is not writing, Aparna likes to lift heavy (arm days are her favorite), dance to Bollywood music, and find cozy cafes to read myths from ancient worlds. You can connect with Aparna on TikTok at @aparnawrites, and Twitter and Instagram at @spirited_gal.

AND ANOTHER THING ABOUT THIS HOLIDAY TRAVEL I didn't really want to talk about it but... Jimmy Mack Reviews The News: FAA, SKIMS, Thanksgiving Become a Certified Fan! Help support the podcast and get our Thursday show, More Mama's Boy!  Adopt An Episode! Want to show us a little extra love? Adopt an Episode and get a personal shoutout in an upcoming show! This episode was adopted by the amazing Amy P. of Georgia! Thank you!! A special thank you to our Boy-lievers for your extra support of our show:  Angela P, Donald S, Queen Pam, Karissa R, Lisa H, Michele K, Tina U, Candy Z, Karen W, Marci H, Kayla S, Eileen F, Erin D, and Julie B!  Listen to my other podcast, “Kramer and Jess Uncensored”! Learn more about your ad choices. Visit megaphone.fm/adchoices

Von glamourösen Award-Shows bis zu tiefsten Gedanken über die Liebe. Die letzte Woche war bei Feli wild. Rote Teppiche, Live-Auftritte und große Bühnen. Zurück in Berlin heißt es jetzt, in sich gehen und feststellen: Wie krass war das denn bitte? Und dann natürlich noch ein Update: Ein Jahr ist Feli single! Geilste Zeit oder Einsamkeit? Der virale Vogue-Artikel „Is Having a Boyfriend Embarrassing Now“ hat sie einfach nicht losgelassen. Klaut ein Boyfriend wirklich was von der Aura? Und würde sie jemals einen Boy posten? Da musste ausführlich drüber gesprochen werden. Und natürlich kommt die Community auch zu Wort … Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/lifeisfelicious Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Jump in with Carlos Juico and Gavin Ruta on episode 261 of Jumpers Jump. This episode we discuss: Funny Club stories, Manifestation theory, Reward after hardwork, Vacations, Jumpers Ghost Hunting, Wife gets possessed vid, Our Stranger Things songs, The Wild West Ghost story, Nagoro Ghost Village, Spirits theory, The Boy and the Beast, Anime, 911 Ghost call, 67 is Demonic theory, Mexican Ouija Board story, The Ghost Church, Recurring Dreams, Tsukiyomi, Parasocial game, 6ix9ine is Undercover theory, Dying Rapper theory, Predicting new media, Simulation theories, Awkward Funny humor, Laugh track theory, Ai, Sarah Grace Tiktok Murder case and much more! -Download the DraftKings app today! New players get 500 spins when you wager $5 -Sign up for a $1 per month trial at https://www.shopify.com/jumpers Follow the podcast: @JumpersPodcast Follow Carlos: @CarlosJuico Follow Gavin: @GavinRutaa Check out the podcast on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/JumpersJumpYT⁠⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Boy in the Box Hosted by Doug Bailey. Submit your true, horrifying experience to hear it on the podcast: ⁠⁠⁠⁠⁠disturbedpodcast.com/submit⁠⁠⁠⁠⁠ Voicemail: ⁠⁠⁠⁠⁠hotline.disturbedpodcast.com⁠⁠⁠⁠⁠ Station: ⁠⁠⁠⁠⁠https://station.page/disturbed⁠⁠⁠⁠⁠ Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.disturbedpodcast.com/p/merch/⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

We finally talk about the movie Weapons and BOY do we have thoughts!

This week on BEHIND THE LENS, it's all about mysteries thanks to director STEPHEN SHIMEK talking about MURDER AT THE EMBASSY, and writer/director LOTFY NATHAN discussing THE CARPENTER'S SON. But first, let's take a little trip to Cairo with director STEPHEN SHIMEK and MURDER AT THE EMBASSY. The second film in the Miranda Greene franchise, this story is fun, and the film is as entertaining as it is beautiful, as it drenches you in the beauty and wonder of Egypt. Set in 1930s Cairo with pyramids and antiquities at the height of Egyptology and archaeology, private detective Miranda Green is called to investigate a suspicious murder inside Cairo's seemingly impenetrable British Embassy when she discovers a second crime has been committed that could spark war across the globe. Everyone within the walls of the embassy is a suspect, but the ultimate evil force is lurking right around the corner. Directed by STEPHEN SHIMEK and written by Mark Brennan, MURDER AT THE EMBASSY stars Mischa Barton, Mido Hamada, Kojo Attah, Nell Barlow, Raha Rahbari, Antonia Bernath, and Richard Dillane. Now let's switch gears and talk about another type of mystery with writer/director LOTFY NATHAN and THE CARPENTER'S SON. Not your cut-and-dry faith-based or historical religious film, Lotfy pushes the envelope here as he draws from the apocryphal Infancy Gospel of Thomas for this story. This is a film that has already drawn some ire in the Christian community as it is developed from the apocryphal Infancy Gospel of Thomas about the childhood of Jesus and fills in the New Testament canonical gospels, often clashing with some of those accepted writings. A powerful and fascinating film that is exquisitely made. And did I mention it stars Nic Cage as Jesus' father, the carpenter Joseph? Written and directed by LOTFY NATHAN, THE CARPENTER'S SON stars Nic Cage as "The Carpenter", Noah Jupe as "The Boy" aka Jesus, and FKA Twigs as "The Mother" aka Mary. http://eliasentertainmentnetwork.com

Bar Talk (our recommendations):Jessica is reading A Boy and His Dog at the End of the World by C.A. Fletchere; drinking a Blind Tiger's Bees Knees.Damien is reading The Haar by David Sodergren; drinking a Larceny bourbon whiskey.Ryan is watching "Adolescence" (Netflix); drinking and Old Forester 86.If you liked this week's story, watch Black Swan (2010; dir. Darren Aronofsky)Up next: "An Evicted Spirit" by Marguerite MeringtonSpecial thank you to Dr Blake Brandes for our Whiskey and the Weird music! Like, rate, and follow! Check us out @whiskeyandtheweird on Instagram, Threads & Facebook, and at whiskeyandtheweird.com

Number 1001I'd love to say the next 1,000 episodes will be different from the last, but we all know how it goes. Lots of jokes, plenty of stupid conversations, plenty of pop culture chatter, and a heaping helping of Nintendo news. Hope you can stomach it all!

Eventjes terug naar 17 oktober 1980… Een destijds onbekende band staat op het punt van zijn echte doorbraak en komt na optredens in de Melkweg in Amsterdam en Vera in Groningen, naar de Gigant in Apeldoorn. Het was voor het eerst dat deze band te horen en te zien is buiten de UK. Maar erg onder de indruk was men in Apeldoorn niet van het eerste geluid van U2… Lokale punk-types uit Arnhem en Deventer waren wel op de poster afgekomen. Maar toen U2 het livegeluid van ‘Boy' ten gehore bracht, bleek het een complete mismatch tussen Bono en de omgeving Apeldoorn. Er gaan zelfs verhalen rond over LP's van het debuutalbum van de legendarische band die na het concert als frisbees door de zaal vlogen… Vandaag in Spijkers met Koppen eren we het Apeldoornse poppodium GIGANT - Goede Ideeën Gaan Alsnog Nooit Teloor. Want naast een piepjonge U2 staan ook Simple Minds en Nirvana op het gigantische podum, maar toch hadden ze het zonder Herman Brood nooit overleefd... Nu, vijftig jaar later kunnen we door het boek ‘Gigantisch Luid en Tegendraads' allemaal meegenieten van drugs, bloed, zweet en tranen in een plaats waar niets te doen was. Schrijvers Jan Westerhof en Siwert Hoogenberg praten over die gouden dagen van poppodium Gigant.  Verder: * Alles over de stoelendans in de nieuwe Tweede Kamer * Waar in vredesnaam is Apie?? * En Pas op! Pieter Derks heeft zeker 100x een mening. Presentatie: Dolf Jansen en Willemijn Veenhoven Cabaret: Owen Schumacher, Aron Elstak, Kiki Schippers, Marcel Harteveld, Shariff Nasr. Column: Hans Sibbel Livemuziek: Waylon

This episode was originally released on 9/1/2020. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 107, we go back to school with the Nelson family and find out why David and Ricky joined the program, and how it affected the entertainment industry forever. —————————— Highlights: • Oswald George Nelson—Boy from New Jersey • The Ukulele Craze and the Boy scout Jamboree • Ozzie Starts a Band • Splitting Time Between Football and Music • Cleaning Up Around Town • On the Banks of the Old Raritan • Law School and WMCA • Ozzie Nelson and His Orchestra Gets on Radio • Ozzie Meet Harriet • Harriet Hilliard—One Heck of a Talent • Harriet Joins the Band • Joe Penner and Robert Ripley • Getting Married—Harriet Becomes a Film Star • Touring—David and Eric Are Born • Red Skelton • The Adventures of Ozzie and Harriet is Born • Changing Networks in 1948 • Jack Benny Jumps to CBS—David and Ricky Join the Show • Finding Their Groove as a Family • ABC and a Ten-Year Contract • Here Come The Nelsons to Television • Looking Ahead to Halloween —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today's episode was: • On the Air — By John Dunning • Ozzie — By Ozzie Nelson • Network Radio Ratings, 1932-53 — By Jim Ramsburg • Before Television — By Glenhall Taylor • As well as articles from the archives of Broadcasting Magazine, Sponsor Magazine, Radio Daily, and Radio Mirror. —————————— On the interview front: • Ozzie Nelson spoke with: Johnny Carson, Chuck Cecil, and James Day • Ricky Nelson spoke with Johnny Carson and David Hartman • David Nelson spoke with David Hartman, and KRLA • Jack Wagner and Johnny Hayes were also with KRLA • While Harriet Nelson spoke with David Hartman and Chuck Schaden • Chuck Schaden also interviewed Jack Benny, Lurene Tuttle and Janet Waldo Hear these chats and others from Chuck's forty-year career at SpeakingOfRadio.com —————————— Selected music featured in today's episode was: • Theme from A Summer Place — By The Ventures • Colorado Trail — From Stephen Ives' The West • On The Banks of the Old Raritan — By The Rutgers Alma Mater Choir • Auld Lang Syne — By the Manhattan Strings • Dream a Little Dream of Me and Jersey Bounce — By Ozzie Nelson and His Orchestra • Get Thee Behind Me Satan — By Harriet Hilliard Nelson • I Will Follow You — By Ricky Nelson • The Haunted House Boogie — By Jack Rivers and Happy Wilson

Hey Friends! This week we discuss what we've been up to and give our in-depth review of the Brandy and Monica 'The Boy is Mine' Tour.

Deon Cole joins Jim to discuss how the entertainment industry has evolved over his career in Hollywood. Cole talks about what it takes to learn comedy writing, how he became a writer The Tonight Show with Conan O'Brien, and reveals how one elevator ride led to Andy Richter becoming Conan's sidekick. Cole also discusses how the emergence of AI can affect the entertainment industry, his evolution from comedian and writer into actor with screen credits in "Black-ish" and the "Barbershop" movies. Cole also reveals his best comedian icons of all-time, and why filming his 2022 Netflix stand-up special "Charleen's Boy" was such a poignant experience. Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Should scammers face the cane? And who really deserves a second chance?”

An edited version of this conversation is now available as part of our collaboration with The Yale Review. Read it here: https://yalereview.org/article/shakespeare-and-company-interview-miriam-toewsTrigger warning: This is a tender, funny, and hopeful conversation, that inevitably touches on the subjects of suicide and depression. Please be advised before listening.In this moving and intimate discussion, Miriam Toews joins Adam Biles at Shakespeare and Company to talk about her memoir A Truce That Is Not Peace. Beginning with the question “Why do I write?”, Toews embarks on a deeply personal exploration of creativity, doubt, family, and loss. She reflects on her Mennonite upbringing, the deaths of her father and sister, and the ways in which writing—and laughter—have helped her make sense of pain and love. With warmth, wit, and clarity, Toews examines the limits of narrative, the pull of silence, and the stubborn hope that persists in the face of despair. A meditation on grief, rebellion, and the meaning of home, this is a conversation about how to keep living, and how to keep creating, when life itself resists coherence.Buy A Truce That Is Not Peace: https://www.shakespeareandcompany.com/books/a-truce-that-is-not-peace*Miriam Toews is the author of the bestselling novels Women Talking, All My Puny Sorrows, Summer of My Amazing Luck, A Boy of Good Breeding, A Complicated Kindness, The Flying Troutmans, Irma Voth, Fight Night and one work of nonfiction, Swing Low: A Life. She is the winner of the Governor General's Award for Fiction, the Libris Award for Fiction Book of the Year, the Rogers Writers' Trust Fiction Prize and the Writers' Trust Engel/Findley Award. She lives in Toronto.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

This week in pop culture headlines, Terrence J got married in Dubai, The Boy is Mine tour had a star-studded stop in LA, Kris Jenner celebrated her 70th birthday with Jeff Bezos, and the latest induction was completed of the Rock and Roll Hall of Fame. (3:21) In hot topics, we discuss the 2026 Grammy nominations, new movie teaser trailers for "The Devil Wears Prada 2" and "Toy Story 5", recent celeb covers, and the reboot of "A Different World." Stay tuned for our next episode as we recap "The Woman in Cabin 10" on Netflix! We are available on all podcasting platforms, but please follow, rate, and review us on Apple Podcasts and Spotify apps. We greatly appreciate the support! Follow us on social media: IG: @recappinpodcast Twitter: @recappinpodcast FB: ReCappin' with Delora and Ashley Contact us: Email: recappinpodcast@gmail.com

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

“Boy wonder by day. Boy toy by night.” In this candid conversation, host Ian Henzel talks with Jobert Abueva Reed about Boy Wander—a memoir that moves from Manila to Kathmandu, Bangkok, and Tokyo, then across the U.S., tracing a brilliant student leader's secret life in 1970s Japan. As a child TV personality and top performer at an all-boys Catholic international school, Jobert seemed destined for greatness. After class, he lived another reality—turning tricks with foreign guests at Tokyo's Imperial Hotel—while trying to reconcile family expectations, faith, and the truth of who he was. They discuss how a pre-AIDS coming-of-age shaped the book's urgent honesty, why Tokyo felt uniquely safe, and how an episodic writing process became a propulsive narrative. The episode is equal parts craft talk and cultural history—about surviving, remembering, and finally being seen. What we cover The “golden boy” mask: student council, debate, track, theater—and the secret after dark Tokyo as a safe(-r) haven for queer exploration in the 1970s Pre-AIDS context and how it frames risk, shame, and liberation Turning raw episodes into memoir: structure, voice, and truth-telling Reconciling family values, Catholic schooling, and personal identity Migration, transience, and finding home across continents Why diverse LGBTQ voices matter to younger readers now Get the Book:

Nick Fuentes, NETTR, and the Battle for Young Men’s Hearts In this episode, Pastor Joseph Spurgeon sits down with returning guest Jon Harris (host of the Conversations That Matter podcast) to unpack one of the most contentious debates raging in right-wing and Christian political spaces: the rise of Nick Fuentes, the resurgence of the “No Enemies to the Right” (NETTR / Neottr) philosophy, and what all of this means for the future of young men who are desperate for direction, leadership, and truth. This episode isn’t for the faint of heart. It’s a field manual for discerning men in a fog-of-war cultural moment. Topics Covered: ✅ NETTR vs. NEOTTR – What do these terms mean, who coined them, and how should faithful Christian men think about coalition-building on the right? ✅ Nick Fuentes & the Groypers – Jon Harris gives a hard critique of Fuentes, his methods, character, and why he fails the biblical test of leadership, even if he claims to fight “the left.” ✅ The Danger of Compromised Alliances – How co-belligerency works in Scripture (Abraham, David, Daniel, Nehemiah) versus when you’re just riding shotgun in a car driven by fools. ✅ David & Joab – A biblical case study in working with dangerous allies while maintaining godly clarity and never surrendering your integrity. ✅ Pastoral Wisdom for the Young & Angry – Why many of these “dissident right” figures appeal to lost young men—and why the Church must offer more than finger-wagging or limp-wristed “niceness.” ✅ Don’t Fall for the Revenge-of-the-Dork Trap – Jon and Joseph explain how ragebait influencers hijack real masculine instincts and direct them toward perversion, cowardice, and idolatry. Key Takeaways: Not every co-belligerent is a brother. You can fight in the same trench without handing over the megaphone—or your soul. Bad company corrupts good morals (1 Cor. 15:33). Even if someone punches left, that doesn’t make him a leader worth following. True masculinity is principled, not primal. Biblical manhood doesn’t settle for vulgarity, victimhood, or cowardice dressed up as strength. About the Show The Patriarchy Podcast features in-depth conversations on faith, culture, theology, and leadership. Each episode seeks to equip Christians to live boldly and biblically in an age of compromise — exploring the challenges and opportunities of standing firm for truth in the modern world. Support the Mission We’re still raising funds to expand Sovereign King Academy and keep tuition affordable for families. Want to invest in the future of Christ’s Kingdom? Give here: https://sovereignkingacademy.com Connect with The Patriarchy Podcast: YouTube: https://www.youtube.com/@ThePatriarchyPodcast Spotify: https://tinyurl.com/58tm5zjz Apple Podcasts: https://tinyurl.com/f3ruzrsa Website & All Links: https://linktr.ee/thepatriarchypodcast Follow Joseph Spurgeon: Facebook: https://www.facebook.com/ThePatriarchyPodcast Twitter/X: https://x.com/PatriarchyPod Instagram: https://www.instagram.com/thepatriarchypodcast Gab: https://gab.com/thepatriarchypodcast

We watched Match, the Tubi original movie! Boy wtf was this?! It was so insane and not but it was all at the same time. It's about a girl who finds boy on a dating app and then suddenly a monster is running around the house.Check out links https://linktr.ee/kingsofkillpodcast

Our ‘Family Planning Division' has been busy! a few weeks ago it was Anne from Georgia playing ambulance driver with her post-vasectomy-reversal hubby moaning in the back seat. This time, Kara is pregnant with twins as a result of a botched vasectomy. Urology is a tougher racket than we thought. Boy have we got questions on this episode of the Best of Car Talk.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

How are the federal courts faring during these tumultuous times? I thought it would be worthwhile to discuss this important subject with a former federal judge: someone who understands the judicial role well but could speak more freely than a sitting judge, liberated from the strictures of the bench.Meet Judge Nancy Gertner (Ret.), who served as a U.S. District Judge for the District of Massachusetts from 1994 until 2011. I knew that Judge Gertner would be a lively and insightful interviewee—based not only on her extensive commentary on recent events, reflected in media interviews and op-eds, but on my personal experience. During law school, I took a year-long course on federal sentencing with her, and she was one of my favorite professors.When I was her student, we disagreed on a lot: I was severely conservative back then, and Judge Gertner was, well, not. But I always appreciated and enjoyed hearing her views—so it was a pleasure hearing them once again, some 25 years later, in what turned out to be an excellent conversation.Show Notes:* Nancy Gertner, author website* Nancy Gertner bio, Harvard Law School* In Defense of Women: Memoirs of an Unrepentant Advocate, AmazonPrefer reading to listening? For paid subscribers, a transcript of the entire episode appears below.Sponsored by:NexFirm helps Biglaw attorneys become founding partners. To learn more about how NexFirm can help you launch your firm, call 212-292-1000 or email careerdevelopment@nexfirm.com.Three quick notes about this transcript. First, it has been cleaned up from the audio in ways that don't alter substance—e.g., by deleting verbal filler or adding a word here or there to clarify meaning. Second, my interviewee has not reviewed this transcript, and any errors are mine. Third, because of length constraints, this newsletter may be truncated in email; to view the entire post, simply click on “View entire message” in your email app.David Lat: Welcome to the Original Jurisdiction podcast. I'm your host, David Lat, author of a Substack newsletter about law and the legal profession also named Original Jurisdiction, which you can read and subscribe to at davidlat.substack.com. You're listening to the eighty-fifth episode of this podcast, recorded on Monday, November 3.Thanks to this podcast's sponsor, NexFirm. NexFirm helps Biglaw attorneys become founding partners. To learn more about how NexFirm can help you launch your firm, call 212-292-1000 or email careerdevelopment@nexfirm.com. Want to know who the guest will be for the next Original Jurisdiction podcast? Follow NexFirm on LinkedIn for a preview.Many of my guests have been friends of mine for a long time—and that's the case for today's. I've known Judge Nancy Gertner for more than 25 years, dating back to when I took a full-year course on federal sentencing from her and the late Professor Dan Freed at Yale Law School. She was a great teacher, and although we didn't always agree—she was a professor who let students have their own opinions—I always admired her intellect and appreciated her insights.Judge Gertner is herself a graduate of Yale Law School—where she met, among other future luminaries, Bill and Hillary Clinton. After a fascinating career in private practice as a litigator and trial lawyer handling an incredibly diverse array of cases, Judge Gertner was appointed to serve as a U.S. District Judge for the District of Massachusetts in 1994, by President Clinton. She retired from the bench in 2011, but she is definitely not retired: she writes opinion pieces for outlets such as The New York Times and The Boston Globe, litigates and consults on cases, and trains judges and litigators. She's also working on a book called Incomplete Sentences, telling the stories of the people she sentenced over 17 years on the bench. Her autobiography, In Defense of Women: Memoirs of an Unrepentant Advocate, was published in 2011. Without further ado, here's my conversation with Judge Nancy Gertner.Judge, thank you so much for joining me.Nancy Gertner: Thank you for inviting me. This is wonderful.DL: So it's funny: I've been wanting to have you on this podcast in a sense before it existed, because you and I worked on a podcast pilot. It ended up not getting picked up, but perhaps they have some regrets over that, because legal issues have just blown up since then.NG: I remember that. I think it was just a question of scheduling, and it was before Trump, so we were talking about much more sophisticated, superficial things, as opposed to the rule of law and the demise of the Constitution.DL: And we will get to those topics. But to start off my podcast in the traditional way, let's go back to the beginning. I believe we are both native New Yorkers?NG: Yes, that's right. I was born on the Lower East Side of Manhattan, in an apartment that I think now is a tenement museum, and then we moved to Flushing, Queens, where I lived into my early 20s.DL: So it's interesting—I actually spent some time as a child in that area. What was your upbringing like? What did your parents do?NG: My father owned a linoleum store, or as we used to call it, “tile,” and my mother was a homemaker. My mother worked at home. We were lower class on the Lower East Side and maybe made it to lower-middle. My parents were very conservative, in the sense they didn't know exactly what to do with a girl who was a bit of a radical. Neither I nor my sister was precisely what they anticipated. So I got to Barnard for college only because my sister had a conniption fit when he wouldn't pay for college for her—she's my older sister—he was not about to pay for college. If we were boys, we would've had college paid for.In a sense, they skipped a generation. They were actually much more traditional than their peers were. My father was Orthodox when he grew up; my mother was somewhat Orthodox Jewish. My father couldn't speak English until the second grade. So they came from a very insular environment, and in one sense, he escaped that environment when he wanted to play ball on Saturdays. So that was actually the motivation for moving to Queens: to get away from the Lower East Side, where everyone would know that he wasn't in temple on Saturday. We used to have interesting discussions, where I'd say to him that my rebellion was a version of his: he didn't want to go to temple on Saturdays, and I was marching against the war. He didn't see the equivalence, but somehow I did.There's actually a funny story to tell about sort of exactly the distance between how I was raised and my life. After I graduated from Yale Law School, with all sorts of honors and stuff, and was on my way to clerk for a judge, my mother and I had this huge fight in the kitchen of our apartment. What was the fight about? Sadie wanted me to take the Triborough Bridge toll taker's test, “just in case.” “You never know,” she said. I couldn't persuade her that it really wasn't necessary. She passed away before I became a judge, and I told this story at my swearing-in, and I said that she just didn't understand. I said, “Now I have to talk to my mother for a minute; forgive me for a moment.” And I looked up at the rafters and I said, “Ma, at last: a government job!” So that is sort of the measure of where I started. My mother didn't finish high school, my father had maybe a semester of college—but that wasn't what girls did.DL: So were you then a first-generation professional or a first-generation college graduate?NG: Both—my sister and I were both, first-generation college graduates and first-generation professionals. When people talk about Jewish backgrounds, they're very different from one another, and since my grandparents came from Eastern European shtetls, it's not clear to me that they—except for one grandfather—were even literate. So it was a very different background.DL: You mentioned that you did go to Yale Law School, and of course we connected there years later, when I was your student. But what led you to go to law school in the first place? Clearly your parents were not encouraging your professional ambitions.NG: One is, I love to speak. My husband kids me now and says that I've never met a microphone I didn't like. I had thought for a moment of acting—musical comedy, in fact. But it was 1967, and the anti-war movement, a nascent women's movement, and the civil rights movement were all rising around me, and I wanted to be in the world. And the other thing was that I didn't want to do anything that women do. Actually, musical comedy was something that would've been okay and normal for women, but I didn't want to do anything that women typically do. So that was the choice of law. It was more like the choice of law professor than law, but that changed over time.DL: So did you go straight from Barnard to Yale Law School?NG: Well, I went from Barnard to Yale graduate school in political science because as I said, I've always had an academic and a practical side, and so I thought briefly that I wanted to get a Ph.D. I still do, actually—I'm going to work on that after these books are finished.DL: Did you then think that you wanted to be a law professor when you started at YLS? I guess by that point you already had a master's degree under your belt?NG: I thought I wanted to be a law professor, that's right. I did not think I wanted to practice law. Yale at that time, like most law schools, had no practical clinical courses. I don't think I ever set foot in a courtroom or a courthouse, except to demonstrate on the outside of it. And the only thing that started me in practice was that I thought I should do at least two or three years of practice before I went back into the academy, before I went back into the library. Twenty-four years later, I obviously made a different decision.DL: So you were at YLS during a very interesting time, and some of the law school's most famous alumni passed through its halls around that period. So tell us about some of the people you either met or overlapped with at YLS during your time there.NG: Hillary Clinton was one of my best friends. I knew Bill, but I didn't like him.DL: Hmmm….NG: She was one of my best friends. There were 20 women in my class, which was the class of ‘71. The year before, there had only been eight. I think we got up to 21—a rumor had it that it was up to 21 because men whose numbers were drafted couldn't go to school, and so suddenly they had to fill their class with this lesser entity known as women. It was still a very small number out of, I think, what was the size of the opening class… 165? Very small. So we knew each other very, very well. And Hillary and I were the only ones, I think, who had no boyfriends at the time, though that changed.DL: I think you may have either just missed or briefly overlapped with either Justice Thomas or Justice Alito?NG: They're younger than I am, so I think they came after.DL: And that would be also true of Justice Sotomayor then as well?NG: Absolutely. She became a friend because when I was on the bench, I actually sat with the Second Circuit, and we had great times together. But she was younger than I was, so I didn't know her in law school, and by the time she was in law school, there were more women. In the middle of, I guess, my first year at Yale Law School, was the first year that Yale College went coed. So it was, in my view, an enormously exciting time, because we felt like we were inventing law. We were inventing something entirely new. We had the first “women in the law” course, one of the first such courses in the country, and I think we were borderline obnoxious. It's a little bit like the debates today, which is that no one could speak right—you were correcting everyone with respect to the way they were describing women—but it was enormously creative and exciting.DL: So I'm gathering you enjoyed law school, then?NG: I loved law school. Still, when I was in law school, I still had my feet in graduate school, so I believe that I took law and sociology for three years, mostly. In other words, I was going through law school as if I were still in graduate school, and it was so bad that when I decided to go into practice—and this is an absolutely true story—I thought that dying intestate was a disease. We were taking the bar exam, and I did not know what they were talking about.DL: So tell us, then, what did lead you to shift gears? You mentioned you clerked, and you mentioned you wanted to practice for a few years—but you did practice for more than a few years.NG: Right. I talk to students about this all the time, about sort of the fortuities that you need to grab onto that you absolutely did not plan. So I wind up at a small civil-rights firm, Harvey Silverglate and Norman Zalkind's firm. I wind up in a small civil-rights firm because I couldn't get a job anywhere else in Boston. I was looking in Boston or San Francisco, and what other women my age were encountering, I encountered, which is literally people who told me that I would never succeed as a lawyer, certainly not as a litigator. So you have to understand, this is 1971. I should say, as a footnote, that I have a file of everyone who said that to me. People know that I have that file; it's called “Sexist Tidbits.” And so I used to decide whether I should recuse myself when someone in that file appeared before me, but I decided it was just too far.So it was a small civil-rights firm, and they were doing draft cases, they were doing civil-rights cases of all different kinds, and they were doing criminal cases. After a year, the partnership between Norman Zalkind and Harvey Silverglate broke up, and Harvey made me his partner, now an equal partner after a year of practice.Shortly after that, I got a case that changed my career in so many ways, which is I wound up representing Susan Saxe. Susan Saxe was one of five individuals who participated in robberies to get money for the anti-war movement. She was probably five years younger than I was. In the case of the robbery that she participated in, a police officer was killed. She was charged with felony murder. She went underground for five years; the other woman went underground for 20 years.Susan wanted me to represent her, not because she had any sense that I was any good—it's really quite wonderful—she wanted me to represent her because she figured her case was hopeless. And her case was hopeless because the three men involved in the robbery either fled or were immediately convicted, so her case seemed to be hopeless. And she was an extraordinarily principled woman: she said that in her last moment on the stage—she figured that she'd be convicted and get life—she wanted to be represented by a woman. And I was it. There was another woman in town who was a public defender, but I was literally the only private lawyer. I wrote about the case in my book, In Defense of Women, and to Harvey Silvergate's credit, even though the case was virtually no money, he said, “If you want to do it, do it.”Because I didn't know what I was doing—and I literally didn't know what I was doing—I researched every inch of everything in the case. So we had jury research and careful jury selection, hiring people to do jury selection. I challenged the felony-murder rule (this was now 1970). If there was any evidentiary issue, I would not only do the legal research, but talk to social psychologists about what made sense to do. To make a long story short, it took about two years to litigate the case, and it's all that I did.And the government's case was winding down, and it seemed to be not as strong as we thought it was—because, ironically, nobody noticed the woman in the bank. Nobody was noticing women in general; nobody was noticing women in the bank. So their case was much weaker than we thought, except there were two things, two letters that Susan had written: one to her father, and one to her rabbi. The one to her father said, “By the time you get this letter, you'll know what your little girl is doing.” The one to her rabbi said basically the same thing. In effect, these were confessions. Both had been turned over to the FBI.So the case is winding down, not very strong. These letters have not yet been introduced. Meanwhile, The Boston Globe is reporting that all these anti-war activists were coming into town, and Gertner, who no one ever heard of, was going to try the Vietnam War. The defense will be, “She robbed a bank to fight the Vietnam War.” She robbed a bank in order to get money to oppose the Vietnam War, and the Vietnam War was illegitimate, etc. We were going to try the Vietnam War.There was no way in hell I was going to do that. But nobody had ever heard of me, so they believed anything. The government decided to rest before the letters came in, anticipating that our defense would be a collection of individuals who were going to challenge the Vietnam War. The day that the government rested without putting in those two letters, I rested my case, and the case went immediately to the jury. I'm told that I was so nervous when I said “the defense rests” that I sounded like Minnie Mouse.The upshot of that, however, was that the jury was 9-3 for acquittal on the first day, 10-2 for acquittal on the second day, and then 11-1 for acquittal—and there it stopped. It was a hung jury. But it essentially made my career. I had first the experience of pouring my heart into a case and saving someone's life, which was like nothing I'd ever felt before, which was better than the library. It also put my name out there. I was no longer, “Who is she?” I suddenly could take any kind of case I wanted to take. And so I was addicted to trials from then until the time I became a judge.DL: Fill us in on what happened later to your client, just her ultimate arc.NG: She wound up getting eight years in prison instead of life. She had already gotten eight years because of a prior robbery in Philadelphia, so there was no way that we were going to affect that. She had pleaded guilty to that. She went on to live a very principled life. She's actually quite religious. She works in the very sort of left Jewish groups. We are in touch—I'm in touch with almost everyone that I've ever known—because it had been a life-changing experience for me. We were four years apart. Her background, though she was more middle-class, was very similar to my own. Her mother used to call me at night about what Susan should wear. So our lives were very much intertwined. And so she was out of jail after eight years, and she has a family and is doing fine.DL: That's really a remarkable result, because people have to understand what defense lawyers are up against. It's often very challenging, and a victory is often a situation where your client doesn't serve life, for example, or doesn't, God forbid, get the death penalty. So it's really interesting that the Saxe case—as you talk about in your wonderful memoir—really did launch your career to the next level. And you wound up handling a number of other cases that you could say were adjacent or thematically related to Saxe's case. Maybe you can talk a little bit about some of those.NG: The women's movement was roaring at this time, and so a woman lawyer who was active and spoke out and talked about women's issues invariably got women's cases. So on the criminal side, I did one of the first, I think it was the first, battered woman syndrome case, as a defense to murder. On the civil side, I had a very robust employment-discrimination practice, dealing with sexual harassment, dealing with racial discrimination. I essentially did whatever I wanted to do. That's what my students don't always understand: I don't remember ever looking for a lucrative case. I would take what was interesting and fun to me, and money followed. I can't describe it any other way.These cases—you wound up getting paid, but I did what I thought was meaningful. But it wasn't just women's rights issues, and it wasn't just criminal defense. We represented white-collar criminal defendants. We represented Boston Mayor Kevin White's second-in-command, Ted Anzalone, also successfully. I did stockholder derivative suits, because someone referred them to me. To some degree the Saxe case, and maybe it was also the time—I did not understand the law to require specialization in the way that it does now. So I could do a felony-murder case on Monday and sue Mayor Lynch on Friday and sue Gulf Oil on Monday, and it wouldn't even occur to me that there was an issue. It was not the same kind of specialization, and I certainly wasn't about to specialize.DL: You anticipated my next comment, which is that when someone reads your memoir, they read about a career that's very hard to replicate in this day and age. For whatever reason, today people specialize. They specialize at earlier points in their careers. Clients want somebody who holds himself out as a specialist in white-collar crime, or a specialist in dealing with defendants who invoke battered woman syndrome, or what have you. And so I think your career… you kind of had a luxury, in a way.NG: I also think that the costs of entry were lower. It was Harvey Silverglate and me, and maybe four or five other lawyers. I was single until I was 39, so I had no family pressures to speak of. And I think that, yes, the profession was different. Now employment discrimination cases involve prodigious amounts of e-discovery. So even a little case has e-discovery, and that's partly because there's a generation—you're a part of it—that lived online. And so suddenly, what otherwise would have been discussions over the back fence are now text messages.So I do think it's different—although maybe this is a comment that only someone who is as old as I am can make—I wish that people would forget the money for a while. When I was on the bench, you'd get a pro se case that was incredibly interesting, challenging prison conditions or challenging some employment issue that had never been challenged before. It was pro se, and I would get on the phone and try to find someone to represent this person. And I can't tell you how difficult it was. These were not necessarily big cases. The big firms might want to get some publicity from it. But there was not a sense of individuals who were going to do it just, “Boy, I've never done a case like this—let me try—and boy, this is important to do.” Now, that may be different today in the Trump administration, because there's a huge number of lawyers that are doing immigration cases. But the day-to-day discrimination cases, even abortion cases, it was not the same kind of support.DL: I feel in some ways you were ahead of your time, because your career as a litigator played out in boutiques, and I feel that today, many lawyers who handle high-profile cases like yours work at large firms. Why did you not go to a large firm, either from YLS or if there were issues, for example, of discrimination, you must have had opportunities to lateral into such a firm later, if you had wanted to?NG: Well, certainly at the beginning nobody wanted me. It didn't matter how well I had done. Me and Ruth Ginsburg were on the streets looking for jobs. So that was one thing. I wound up, for the last four years of my practice before I became a judge, working in a firm called Dwyer Collora & Gertner. It was more of a boutique, white-collar firm. But I wasn't interested in the big firms because I didn't want anyone to tell me what to do. I didn't want anyone to say, “Don't write this op-ed because you'll piss off my clients.” I faced the same kind of issue when I left the bench. I could have an office, and sort of float into client conferences from time to time, but I did not want to be in a setting in which anyone told me what to do. It was true then; it certainly is true now.DL: So you did end up in another setting where, for the most part, you weren't told what to do: namely, you became a federal judge. And I suppose the First Circuit could from time to time tell you what to do, but….NG: But they were always wrong.DL: Yes, I do remember that when you were my professor, you would offer your thoughts on appellate rulings. But how did you—given the kind of career you had, especially—become a federal judge? Because let me be honest, I think that somebody with your type of engagement in hot-button issues today would have a challenging time. Republican senators would grandstand about you coming up with excuses for women murderers, or what have you. Did you have a rough confirmation process?NG: I did. So I'm up for the bench in 1993. This is under Bill Clinton, and I'm told—I never confirmed this—that when Senator Kennedy…. When I met Senator Kennedy, I thought I didn't have a prayer of becoming a judge. I put my name in because I knew the Clintons, and everybody I knew was getting a job in the government. I had not thought about being a judge. I had not prepared. I had not structured my career to be a judge. But everyone I knew was going into the government, and I thought if there ever was a time, this would be it. So I apply. Someday, someone should emboss my application, because the application was quite hysterical. I put in every article that I had written calling for access to reproductive technologies to gay people. It was something to behold.Kennedy was at the tail end of his career, and he was determined to put someone like me on the bench. I'm not sure that anyone else would have done that. I'm told (and this isn't confirmed) that when he talked to Bill and Hillary about me, they of course knew me—Hillary and I had been close friends—but they knew me to be that radical friend of theirs from Yale Law School. There had been 24 years in between, but still. And I'm told that what was said was, “She's terrific. But if there's a problem, she's yours.” But Kennedy was really determined.The week before my hearing before the Senate, I had gotten letters from everyone who had ever opposed me. Every prosecutor. I can't remember anyone who had said no. Bill Weld wrote a letter. Bob Mueller, who had opposed me in cases, wrote a letter. But as I think oftentimes happens with women, there was an article in The Boston Herald the day before my hearing, in which the writer compared me to Lorena Bobbitt. Your listeners may not know this, but he said, “Gertner will do to justice, with her gavel, what Lorena did to her husband, with a kitchen knife.” Do we have to explain that any more?DL: They can Google it or ask ChatGPT. I'm old enough to know about Lorena Bobbitt.NG: Right. So it's just at the tail edge of the presentation, that was always what the caricature would be. But Kennedy was masterful. There were numbers of us who were all up at the same time. Everyone else got through except me. I'm told that that article really was the basis for Senator Jesse Helms's opposition to me. And then Senator Kennedy called us one day and said, “Tomorrow you're going to read something, but don't worry, I'll take care of it.” And the Boston Globe headline says, “Kennedy Votes For Helms's School-Prayer Amendment.” And he called us and said, “We'll take care of it in committee.” And then we get a call from him—my husband took the call—Kennedy, affecting Helms's accent, said, ‘Senator, you've got your judge.' We didn't even understand what the hell he said, between his Boston accent and imitating Helms; we had no idea what he said. But that then was confirmed.DL: Are you the managing partner of a boutique or midsize firm? If so, you know that your most important job is attracting and retaining top talent. It's not easy, especially if your benefits don't match up well with those of Biglaw firms or if your HR process feels “small time.” NexFirm has created an onboarding and benefits experience that rivals an Am Law 100 firm, so you can compete for the best talent at a price your firm can afford. Want to learn more? Contact NexFirm at 212-292-1002 or email betterbenefits@nexfirm.com.So turning to your time as a judge, how would you describe that period, in a nutshell? The job did come with certain restrictions. Did you enjoy it, notwithstanding the restrictions?NG: I candidly was not sure that I would last beyond five years, for a couple of reasons. One was, I got on the bench in 1994, when the sentencing guidelines were mandatory, when what we taught you in my sentencing class was not happening, which is that judges would depart from the guidelines and the Sentencing Commission, when enough of us would depart, would begin to change the guidelines, and there'd be a feedback loop. There was no feedback loop. If you departed, you were reversed. And actually the genesis of the book I'm writing now came from this period. As far as I was concerned, I was being unfair. As I later said, my sentences were unfair, unjust, and disproportionate—and there was nothing I could do about it. So I was not sure that I was going to last beyond five years.In addition, there were some high-profile criminal trials going on with lawyers that I knew that I probably would've been a part of if I had been practicing. And I hungered to do that, to go back and be a litigator. The course at Yale Law School that you were a part of saved me. And it saved me because, certainly with respect to the sentencing, it turned what seemed like a formula into an intellectual discussion in which there was wiggle room and the ability to come up with other approaches. In other words, we were taught that this was a formula, and you don't depart from the formula, and that's it. The class came up with creative issues and creative understandings, which made an enormous difference to my judging.So I started to write; I started to write opinions. Even if the opinion says there's nothing I can do about it, I would write opinions in which I say, “I can't depart because of this woman's status as a single mother because the guidelines said only extraordinary family circumstances can justify a departure, and this wasn't extraordinary. That makes no sense.” And I began to write this in my opinions, I began to write this in scholarly writings, and that made all the difference in the world. And sometimes I was reversed, and sometimes I was not. But it enabled me to figure out how to push back against a system which I found to be palpably unfair. So I figured out how to be me in this job—and that was enormously helpful.DL: And I know how much and how deeply you cared about sentencing because of the class in which I actually wound up writing one of my two capstone papers at Yale.NG: To your listeners, I still have that paper.DL: You must be quite a pack rat!NG: I can change the grade at any time….DL: Well, I hope you've enjoyed your time today, Judge, and will keep the grade that way!But let me ask you: now that the guidelines are advisory, do you view that as a step forward from your time on the bench? Perhaps you would still be a judge if they were advisory? I don't know.NG: No, they became advisory in 2005, and I didn't leave until 2011. Yes, that was enormously helpful: you could choose what you thought was a fair sentence, so it's very advisory now. But I don't think I would've stayed longer, because of two reasons.By the time I hit 65, I wanted another act. I wanted another round. I thought I had done all that I could do as a judge, and I wanted to try something different. And Martha Minow of Harvard Law School made me an offer I couldn't refuse, which was to teach at Harvard. So that was one. It also, candidly, was that there was no longevity in my family, and so when I turned 65, I wasn't sure what was going to happen. So I did want to try something new. But I'm still here.DL: Yep—definitely, and very active. I always chuckle when I see “Ret.,” the abbreviation for “retired,” in your email signature, because you do not seem very retired to me. Tell us what you are up to today.NG: Well, first I have this book that I've been writing for several years, called Incomplete Sentences. And so what this book started to be about was the men and women that I sentenced, and how unfair it was, and what I thought we should have done. Then one day I got a message from a man by the name of Darryl Green, and it says, “Is this Nancy Gertner? If it is, I think about you all the time. I hope you're well. I'm well. I'm an iron worker. I have a family. I've written books. You probably don't remember me.” This was a Facebook message. I knew exactly who he was. He was a man who had faced the death penalty in my court, and I acquitted him. And he was then tried in state court, and acquitted again. So I knew exactly who he was, and I decided to write back.So I wrote back and said, “I know who you are. Do you want to meet?” That started a series of meetings that I've had with the men I've sentenced over the course of the 17-year career that I had as a judge. Why has it taken me this long to write? First, because these have been incredibly moving and difficult discussions. Second, because I wanted the book to be honest about what I knew about them and what a difference maybe this information would make. It is extremely difficult, David, to be honest about judging, particularly in these days when judges are parodied. So if I talk about how I wanted to exercise some leniency in a case, I understand that this can be parodied—and I don't want it to be, but I want to be honest.So for example, in one case, there would be cooperators in the case who'd get up and testify that the individual who was charged with only X amount of drugs was actually involved with much more than that. And you knew that if you believed the witness, the sentence would be doubled, even though you thought that didn't make any sense. This was really just mostly how long the cops were on the corner watching the drug deals. It didn't make the guy who was dealing drugs on a bicycle any more culpable than the guy who was doing massive quantities into the country.So I would struggle with, “Do I really believe this man, the witness who's upping the quantity?” And the kinds of exercises I would go through to make sure that I wasn't making a decision because I didn't like the implications of the decision and it was what I was really feeling. So it's not been easy to write, and it's taken me a very long time. The other side of the coin is they're also incredibly honest with me, and sometimes I don't want to know what they're saying. Not like a sociologist who could say, “Oh, that's an interesting fact, I'll put it in.” It's like, “Oh no, I don't want to know that.”DL: Wow. The book sounds amazing; I can't wait to read it. When is it estimated to come out?NG: Well, I'm finishing it probably at the end of this year. I've rewritten it about five times. And my hope would be sometime next year. So yeah, it was organic. It's what I wanted to write from the minute I left the bench. And it covers the guideline period when it was lunacy to follow the guidelines, to a period when it was much more flexible, but the guidelines still disfavored considering things like addiction and trauma and adverse childhood experiences, which really defined many of the people I was sentencing. So it's a cri de cœur, as they say, which has not been easy to write.DL: Speaking of cri de cœurs, and speaking of difficult things, it's difficult to write about judging, but I think we also have alluded already to how difficult it is to engage in judging in 2025. What general thoughts would you have about being a federal judge in 2025? I know you are no longer a federal judge. But if you were still on the bench or when you talk to your former colleagues, what is it like on the ground right now?NG: It's nothing like when I was a judge. In fact, the first thing that happened when I left the bench is I wrote an article in which I said—this is in 2011—that the only pressure I had felt in my 17 years on the bench was to duck, avoid, and evade, waiver, statute of limitations. Well, all of a sudden, you now have judges who at least since January are dealing with emergencies that they can't turn their eyes away from, judges issuing rulings at 1 a.m., judges writing 60-page decisions on an emergency basis, because what the president is doing is literally unprecedented. The courts are being asked to look at issues that have never been addressed before, because no one has ever tried to do the things that he's doing. And they have almost overwhelmingly met the moment. It doesn't matter whether you're ruling for the government or against the government; they are taking these challenges enormously seriously. They're putting in the time.I had two clerks, maybe some judges have three, but it's a prodigious amount of work. Whereas everyone complained about the Trump prosecutions proceeding so slowly, judges have been working expeditiously on these challenges, and under circumstances that I never faced, which is threats the likes of which I have never seen. One judge literally played for me the kinds of voice messages that he got after a decision that he issued. So they're doing it under circumstances that we never had to face. And it's not just the disgruntled public talking; it's also our fellow Yale Law alum, JD Vance, talking about rogue judges. That's a level of delegitimization that I just don't think anyone ever had to deal with before. So they're being challenged in ways that no other judges have, and they are being threatened in a way that no judges have.On the other hand, I wish I were on the bench.DL: Interesting, because I was going to ask you that. If you were to give lower-court judges a grade, to put you back in professor mode, on their performance since January 2025, what grade would you give the lower courts?NG: Oh, I would give them an A. I would give them an A. It doesn't matter which way they have come out: decision after decision has been thoughtful and careful. They put in the time. Again, this is not a commentary on what direction they have gone in, but it's a commentary on meeting the moment. And so now these are judges who are getting emergency orders, emergency cases, in the midst of an already busy docket. It has really been extraordinary. The district courts have; the courts of appeals have. I've left out another court….DL: We'll get to that in a minute. But I'm curious: you were on the District of Massachusetts, which has been a real center of activity because many groups file there. As we're recording this, there is the SNAP benefits, federal food assistance litigation playing out there [before Judge Indira Talwani, with another case before Chief Judge John McConnell of Rhode Island]. So it's really just ground zero for a lot of these challenges. But you alluded to the Supreme Court, and I was going to ask you—even before you did—what grade would you give them?NG: Failed. The debate about the shadow docket, which you write about and I write about, in which Justice Kavanaugh thinks, “we're doing fine making interim orders, and therefore it's okay that there's even a precedential value to our interim orders, and thank you very much district court judges for what you're doing, but we'll be the ones to resolve these issues”—I mean, they're resolving these issues in the most perfunctory manner possible.In the tariff case, for example, which is going to be argued on Wednesday, the Court has expedited briefing and expedited oral argument. They could do that with the emergency docket, but they are preferring to hide behind this very perfunctory decision making. I'm not sure why—maybe to keep their options open? Justice Barrett talks about how if it's going to be a hasty decision, you want to make sure that it's not written in stone. But of course then the cases dealing with independent commissions, in which you are allowing the government, allowing the president, to fire people on independent commissions—these cases are effectively overruling Humphrey's Executor, in the most ridiculous setting. So the Court is not meeting the moment. It was stunning that the Court decided in the birthright-citizenship case to be concerned about nationwide injunctions, when in fact nationwide injunctions had been challenged throughout the Biden administration, and they just decided not to address the issue then.Now, I have a lot to say about Justice Kavanaugh's dressing-down of Judge [William] Young [of the District of Massachusetts]….DL: Or Justice Gorsuch, joined by Justice Kavanaugh.NG: That's right, it was Justice Gorsuch. It was stunningly inappropriate, stunningly inappropriate, undermines the district courts that frankly are doing much better than the Supreme Court in meeting the moment. The whole concept of defying the Supreme Court—defying a Supreme Court order, a three-paragraph, shadow-docket order—is preposterous. So whereas the district courts and the courts of appeals are meeting the moment, I do not think the Supreme Court is. And that's not even going into the merits of the immunity decision, which I think has let loose a lawless presidency that is even more lawless than it might otherwise be. So yes, that failed.DL: I do want to highlight for my readers that in addition to your books and your speaking, you do write quite frequently on these issues in the popular press. I've seen your work in The New York Times and The Boston Globe. I know you're working on a longer essay about the rule of law in the age of Trump, so people should look out for that. Of all the things that you worry about right now when it comes to the rule of law, what worries you the most?NG: I worry that the president will ignore and disobey a Supreme Court order. I think a lot about the judges that are dealing with orders that the government is not obeying, and people are impatient that they're not immediately moving to contempt. And one gets the sense with the lower courts that they are inching up to the moment of contempt, but do not want to get there because it would be a stunning moment when you hold the government in contempt. I think the Supreme Court is doing the same thing. I initially believed that the Supreme Court was withholding an anti-Trump decision, frankly, for fear that he would not obey it, and they were waiting till it mattered. I now am no longer certain of that, because there have been rulings that made no sense as far as I'm concerned. But my point was that they, like the lower courts, were holding back rather than saying, “Government, you must do X,” for fear that the government would say, “Go pound sand.” And that's what I fear, because when that happens, it will be even more of a constitutional crisis than we're in now. It'll be a constitutional confrontation, the likes of which we haven't seen. So that's what I worry about.DL: Picking up on what you just said, here's something that I posed to one of my prior guests, Pam Karlan. Let's say you're right that the Supreme Court doesn't want to draw this line in the sand because of a fear that Trump, being Trump, will cross it. Why is that not prudential? Why is that not the right thing? And why is it not right for the Supreme Court to husband its political capital for the real moment?Say Trump—I know he said lately he's not going to—but say Trump attempts to run for a third term, and some case goes up to the Supreme Court on that basis, and the Court needs to be able to speak in a strong, unified, powerful voice. Or maybe it'll be a birthright-citizenship case, if he says, when they get to the merits of that, “Well, that's really nice that you think that there's such a thing as birthright citizenship, but I don't, and now stop me.” Why is it not wise for the Supreme Court to protect itself, until this moment when it needs to come forward and protect all of us?NG: First, the question is whether that is in fact what they are doing, and as I said, there were two schools of thought on this. One school of thought was that is what they were doing, and particularly doing it in an emergency, fuzzy, not really precedential way, until suddenly you're at the edge of the cliff, and you have to either say taking away birthright citizenship was unconstitutional, or tariffs, you can't do the tariffs the way you want to do the tariffs. I mean, they're husbanding—I like the way you put it, husbanding—their political capital, until that moment. I'm not sure that that's true. I think we'll know that if in fact the decisions that are coming down the pike, they actually decide against Trump—notably the tariff ones, notably birthright citizenship. I'm just not sure that that's true.And besides, David, there are some of these cases they did not have to take. The shadow docket was about where plaintiffs were saying it is an emergency to lay people off or fire people. Irreparable harm is on the plaintiff's side, whereas the government otherwise would just continue to do that which it has been doing. There's no harm to it continuing that. USAID—you don't have a right to dismantle the USAID. The harm is on the side of the dismantling, not having you do that which you have already done and could do through Congress, if you wanted to. They didn't have to take those cases. So your comment about husbanding political capital is a good comment, but those cases could have remained as they were in the district courts with whatever the courts of appeals did, and they could do what previous courts have done, which is wait for the issues to percolate longer.The big one for me, too, is the voting rights case. If they decide the voting rights case in January or February or March, if they rush it through, I will say then it's clear they're in the tank for Trump, because the only reason to get that decision out the door is for the 2026 election. So I want to believe that they are husbanding their political capital, but I'm not sure that if that's true, that we would've seen this pattern. But the proof will be with the voting rights case, with birthright citizenship, with the tariffs.DL: Well, it will be very interesting to see what happens in those cases. But let us now turn to my speed round. These are four questions that are the same for all my guests, and my first question is, what do you like the least about the law? And this can either be the practice of law or law as an abstract system of governance.NG: The practice of law. I do some litigation; I'm in two cases. When I was a judge, I used to laugh at people who said incivility was the most significant problem in the law. I thought there were lots of other more significant problems. I've come now to see how incredibly nasty the practice of law is. So yes—and that is no fun.DL: My second question is, what would you be if you were not a lawyer/judge/retired judge?NG: Musical comedy star, clearly! No question about it.DL: There are some judges—Judge Fred Block in the Eastern District of New York, Judge Jed Rakoff in the Southern District of New York—who do these little musical stylings for their court shows. I don't know if you've ever tried that?NG: We used to do Shakespeare, Shakespeare readings, and I loved that. I am a ham—so absolutely musical comedy or theater.DL: My third question is, how much sleep do you get each night?NG: Six to seven hours now, just because I'm old. Before that, four. Most of my life as a litigator, I never thought I needed sleep. You get into my age, you need sleep. And also you look like hell the next morning, so it's either getting sleep or a facelift.DL: And my last question is, any final words of wisdom, such as career advice or life advice, for my listeners?NG: You have to do what you love. You have to do what you love. The law takes time and is so all-encompassing that you have to do what you love. And I have done what I love from beginning to now, and I wouldn't have it any other way.DL: Well, I have loved catching up with you, Judge, and having you share your thoughts and your story with my listeners. Thank you so much for joining me.NG: You're very welcome, David. Take care.DL: Thanks so much to Judge Gertner for joining me. I look forward to reading her next book, Incomplete Sentences, when it comes out next year.Thanks to NexFirm for sponsoring the Original Jurisdiction podcast. NexFirm has helped many attorneys to leave Biglaw and launch firms of their own. To explore this opportunity, please contact NexFirm at 212-292-1000 or email careerdevelopment@nexfirm.com to learn more.Thanks to Tommy Harron, my sound engineer here at Original Jurisdiction, and thanks to you, my listeners and readers. To connect with me, please email me at davidlat@substack.com, or find me on Twitter, Facebook, and LinkedIn, at davidlat, and on Instagram and Threads at davidbenjaminlat.If you enjoyed today's episode, please rate, review, and subscribe. Please subscribe to the Original Jurisdiction newsletter if you don't already, over at davidlat.substack.com. This podcast is free, but it's made possible by paid subscriptions to the newsletter.The next episode should appear on or about Wednesday, November 26. Until then, may your thinking be original and your jurisdiction free of defects. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit davidlat.substack.com/subscribe

Es miércoles, 12 de noviembre. En 'Buenos días, Javi y Mar' se presenta a Pedro Lorca, el elegido por Feijóo para presidir la Comunidad Valenciana, sustituyendo a Mazón. Álvaro García Ortiz, fiscal general del Estado, declara hoy en el juicio por la revelación de secretos sobre el caso del novio de Ayuso. La población de España sigue creciendo, superando los 49.4 millones de habitantes. Angelina Torres, la mujer más longeva de España (112 años), ha fallecido. Se escuchan canciones de Vagabundo (Sebastián Yatra y Manuel Turizo), Beyoncé (If I Were a Boy) y Nil Moliner (Tu cuerpo en braille). Los oyentes comparten anécdotas sobre sus padres y la tecnología. Javi Nieves presenta el libro 'Mecida por el viento' de Laura Torbe. Hoy se anuncia el mejor pincho y la mejor tapa de España en Valladolid. El actor conocido como el "Calvo de la Lotería" ha fallecido, y se presenta la campaña de la lotería de este año. Se habla de Sixpence None the Richer (Kiss Me). En la Antártida, han descubierto ...

Boy to Man (3-Day Program with Live sessions & Community): https://www.gandhiuniversity.com/manLearn How to Influence, Gain Power & Communicate. Join our LIVE workshop: https://www.gandhiuniversity.com/godmodeAll courses: https://www.gandhiuniversity.com/In this video, we explore the secret world of women's sexual fantasies: the desires that go far beyond what's shown in movies or talked about in relationships. These fantasies often reveal deeper emotional needs, power dynamics, and the hidden psychology of attraction and surrender.From the craving for emotional dominance and safe unpredictability, to forbidden desires and the thrill of being fully desired: every fantasy tells a story about a woman's relationship with trust, control, and freedom.Whether you're trying to understand women better, improve intimacy, or just uncover the hidden layers of human desire, this video will open your eyes to the secret language of feminine fantasy.Saurabh Gandhi is a Psychology expert, CBT Practitioner & well known self-help content creator. Over the years he has helped millions of people find their true purpose, build discipline, speak with power and walk away from destructive habits. People who used to break under pressure are now building their dream careers, leading teams and earning deep respect everywhere they go. People regard him as the "go to psychology guy". He takes away the technical jargon and simplifies human behavior for every Indian looking to be their best selves.

Am I an A-hole for booking holiday travel unannounced? Anybody else already having holiday family drama? My Mom leaves her final message for me and it's so sad

Am I an A-hole for booking holiday travel unannounced? Anybody else already having holiday family drama? My Mom leaves her final message for me and it's so sad

Welcome back, dear listeners, and allow us to take you on a trip to the American Civil War to talk about George B. McClellan. Boy did he fucking suck. He wasn't some horrific nightmare person, or a real sociopathic scumbag or anything, but just man, he was a douche. So of course we make fun of him extensively and without mercy. This was a fun one, and gave a lot of insight into just how bad the North was fighting the war pre-Grant (that episode available everywhere expect Spotify, still, sorry). Anyway, enjoy!

An escalating battle between pop star Olivia Rodrigo and DHS is playing out online right now. The government taking the latest public swipe at Rodrigo after she complained in the comment section of their Instagram ICE promotional video to take down her song being used in the clip. Boy did it spiral from there… and this isn’t the first time Rodrigo and the Trump administration have brawled. Rodrigo joins a growing list of artists who have complained or taken legal action against the administration for using their music.See omnystudio.com/listener for privacy information.

An escalating battle between pop star Olivia Rodrigo and DHS is playing out online right now. The government taking the latest public swipe at Rodrigo after she complained in the comment section of their Instagram ICE promotional video to take down her song being used in the clip. Boy did it spiral from there… and this isn’t the first time Rodrigo and the Trump administration have brawled. Rodrigo joins a growing list of artists who have complained or taken legal action against the administration for using their music.See omnystudio.com/listener for privacy information.

SPOILERS FOR ALL FAE & ALCHEMY SERIES We are at the FINAL episode of our Quicksilver coverage! And oh BOY, there's a lot to take in. From multiple timelines, to gods, we dive deep into all!Bonus Chapters:The Gate Pt 1+2, The Fox, The Boots, The Dress: https://calliehart.com/kingfisher/ The Maze: In the back of the new hardback and in the ebook Orlena: In the UK Waterstones deluxe editionCheck out our recent sponsors: https://www.fantasyfangirls.com/sponsorsJoin the FanClub: https://fantasyfangirls.com/fanclubShop our merch: https://fantasyfangirls.myshopify.com/Support the show through our Amazon Shop: https://www.amazon.com/shop/fantasyfangirlspodcastNewsletter: https://fantasyfangirls.com/newsletterWebsite: https://www.fantasyfangirls.com/ Upcoming events:* Brimstone Midnight Release Party - SOLD OUT, join the waitlist at https://events.humanitix.com/ffg-brimstone-release-partyA Solstice Soirée — Holiday Party + ACOTAR Trivia - https://events.humanitix.com/ffg-solstice-soireeThe Dreamers & Readers Festival - Use code FFG for a discount off your ticket!*For all Event Discounts - go to https://fantasyfangirls.supercast.com/subscriber_v2/posts/6891Listen now:Spotify: https://open.spotify.com/show/24KydMMzrYfVpDggkFZx4j?si=fd7dc956393041b8Apple Podcasts: https://podcasts.apple.com/us/podcast/fantasy-fangirls/id1706179464YouTube: https://www.youtube.com/@fantasyfangirlsFollow us:Instagram: @fantasyfangirlspod⁠⁠⁠⁠⁠TikTok: ⁠⁠⁠⁠⁠@fantasyfangirlspod⁠⁠⁠⁠⁠ Hosted on Acast. See acast.com/privacy for more information.

An escalating battle between pop star Olivia Rodrigo and DHS is playing out online right now. The government taking the latest public swipe at Rodrigo after she complained in the comment section of their Instagram ICE promotional video to take down her song being used in the clip. Boy did it spiral from there… and this isn’t the first time Rodrigo and the Trump administration have brawled. Rodrigo joins a growing list of artists who have complained or taken legal action against the administration for using their music.See omnystudio.com/listener for privacy information.

God's timing, humor, and consistency are too perfect to miss. This episode dives deep into the divine alignment between Scripture, music, and memory—showing that you can't make this stuff up. When songs from Maverick City Music—“Too Good to Not Believe,” “Refiner,” and “Kingdom” featuring the lyric “Do you wanna know what Heaven looks like? It's looking like me and you”—randomly shuffled into my quiet time, it felt like heaven itself was speaking.In this powerful reflection, I share how Proverbs 10, my parents' timeless wisdom, and a “random” playlist all collided to prove one truth: God's consistency is undefeated. Verse after verse reminds us that righteousness brings joy, diligence beats laziness, and wisdom invites discipline. My mom used to say, “Count your many blessings, name them one by one,” and my pops would remind me, “Boy, you're the greatest—so act accordingly.” Turns out, they were echoing what God wrote 3,000 years ago.

An escalating battle between pop star Olivia Rodrigo and DHS is playing out online right now. The government taking the latest public swipe at Rodrigo after she complained in the comment section of their Instagram ICE promotional video to take down her song being used in the clip. Boy did it spiral from there… and this isn’t the first time Rodrigo and the Trump administration have brawled. Rodrigo joins a growing list of artists who have complained or taken legal action against the administration for using their music.See omnystudio.com/listener for privacy information.

Join Michael and Maggie as they welcome Boy's Varsity Soccer Senior Captains, Luke Naughton, Ewan Roberts & Robert Elder, and recap this year's amazing season!

Have you ever gotten up for a full day's work in a haunted coal mine and thought, "Boy, I really hope that bird in a cage doesn't stop singing and doom us all"? No? Then you clearly weren't with the RPGBOT crew in Part 2 of our Old Gods of Appalachia charity stream—where coal dust has claws, headlamps are your best friend, and it turns out you can get shot-in-the-foot vibes without ever firing a gun. Buckle up, y'all. Things are getting deep, dark, and very dusty. Support MD Anderson Cancer Research Before we go further, remember: this campaign was part of a live charity event supporting MD Anderson Cancer Center, one of the top cancer hospitals in the world. Their mission is simple but critical: end cancer for patients everywhere through advanced research, treatment, and compassionate care. You can still make a difference. Donate today at https://mdanderson.donordrive.com/participants/9351 — every dollar helps bring hope, healing, and lifesaving treatment to real people in the fight for their lives. Previously, on the RPGBOT charity stream: Jessie and Isaiah arrived in Williams Holler—an Appalachian company town where coal mine doom meets fire-eyed-almost-deer and fatal sermons about salvation through suffering. After a run-in with a not-deer and a meet-and-greet with Mister T and his questionable Applejack theology, our heroes found themselves deep in the mines for mandatory community service, hammering rocks for redemption. Episode 2 picks up right where we left off: with moonshiner chaos, clumsy pickaxe injuries, Tommyknocker rituals, and a collapsing mine shaft that proves this town is as deadly belowground as it is above. In this episode of the RPGBOT Podcast, the gang digs deeper into Old Gods of Appalachia—both narratively and literally—as they're sent into the bowels of the Williams Holler coal mine to "earn their keep" under the watchful eye of foreman Josh CC. Join Jessie and Isaiah as they: Learn about Tommyknockers—ghostly Appalachian mine spirits who love pennies and hate eye contact. Perform citation-needed rituals involving canaries, fish bits, and whispered thanks. Fail basic pickaxe maneuvers (looking at you, Isaiah) and experience the dark gift of GM intrusions, brought to you by generous donors. Discover strange, ancient artifacts deep underground—hint: they might belong to the town's ominous apple orchard daughter. Encounter a creature that definitely isn't a dog made of coal and bad vibes. Try desperately to outrun physics, collapse, and tiny angry men with stone axes through lightless tunnels. All while raising money for MD Anderson Cancer Research, whose work helps real people—unlike some podcast characters we could name. Key Takeaways Horror is better underground: Claustrophobic tunnels, unstable lanterns, and monster-dust dogs? That's premium Appalachian fear. Cypher System shines in survival tension: Speed and might rolls build both narrative and actual sweat. Tommyknockers are the coal miner's cryptid: They warn you with knocks—if you leave them snacks and don't embarrass them. GM intrusions are extra spicy during charity games: The more you donate, the more you make the players quietly panic. Jessie can shoot, quip, and pull people out of holes: The perfect outlaw protagonist energy. This mine is getting worse by the minute: Strange artifacts, broken elevators, dead canaries? It's all very "maybe we leave now." Basket of weird fruit: The orchard, Mr. T, and a thing calling itself "the green" are part of a cosmic tug-of-war that's barely begun. Thank You to the Old Gods and Monte Cook A huge thank-you to Steve Shell, Cam Collins, and the DeepNerd Media team for creating the masterwork that is Old Gods of Appalachia. Their audio drama is the gold standard of Appalachian horror storytelling—and the Old Gods of Appalachia Roleplaying Game, built on Monte Cook Games' Cypher System, brings that dread to your table with terrifying finesse. Want to experience this world for yourself? Listen to Old Gods of Appalachia wherever you get your podcasts Buy the RPG at montecookgames.com/old-gods-of-appalachia-rpg Bring some "not a deer" terror into your next campaign Let the Old Gods whisper you home. Welcome to the RPGBOT Podcast. If you love Dungeons & Dragons, Pathfinder, and tabletop RPGs, this is the podcast for you. Support the show for free: Rate and review us on Apple Podcasts, Spotify, or any podcast app. It helps new listeners find the best RPG podcast for D&D and Pathfinder players. Level up your experience: Join us on Patreon to unlock ad-free access to RPGBOT.net and the RPGBOT Podcast, chat with us and the community on the RPGBOT Discord, and jump into live-streamed RPG podcast recordings. Support while you shop: Use our Amazon affiliate link at https://amzn.to/3NwElxQ and help us keep building tools and guides for the RPG community. Meet the Hosts Tyler Kamstra – Master of mechanics, seeing the Pathfinder action economy like Neo in the Matrix. Randall James – Lore buff and technologist, always ready to debate which Lord of the Rings edition reigns supreme. Ash Ely – Resident cynic, chaos agent, and AI's worst nightmare, bringing pure table-flipping RPG podcast energy. Join the RPGBOT team where fantasy roleplaying meets real strategy, sarcasm, and community chaos. How to Find Us: In-depth articles, guides, handbooks, reviews, news on Tabletop Role Playing at RPGBOT.net Tyler Kamstra BlueSky: @rpgbot.net TikTok: @RPGBOTDOTNET Ash Ely Professional Game Master on StartPlaying.Games BlueSky: @GravenAshes YouTube: @ashravenmedia Randall James BlueSky: @GrimoireRPG Amateurjack.com Read Melancon: A Grimoire Tale (affiliate link) Producer Dan @Lzr_illuminati

We'll be back with a new episode next week! In the meantime, please enjoy the time Goofy stopped by for an enlightening studio visit. He was only tryin' to take his boy fishin', okay? Boy oh boy do we have a special episode for ya! From the Powerline hits that never go out of style to a surprising revelation about the Goof Troop theme song, we're gettin' Goofy with it this week, a-hyuck!  In a KFLX first, we are joined by our first ever in-studio guest: none other than the star of this film - the Goofster himself! We dive into connections to The Newsies, the insane decision that almost changed Goofy's voice forever, and more! This week's episode features the outstanding voice talent of Brock Baker!

Follow MindTrip: www.mindtripmusic.com www.facebook.com/MindTripRec www.instagram.com/mindtrip_music Follow Yrsen: https://www.instagram.com/yrsen._fr/ https://soundcloud.com/yrsen-charles-s https://www.beatport.com/fr/artist/yrsen/899013 01.dxrvo – Unreleased 02.THISISTHX – Outer [Planet Rhythm] 03.AgainstMe – Dungeon's Theme [Tar Hallow] 04.Rommek – Somatic Marker [47] 05.Zimer – Timeless (Original Mix) [Modern Minimal] 06.Alarico – Rugiada [Vault Sessions] 07.Linear System – Unreleased 08.VBK – Verticalism (Toru Ikemoto Remix) [Modern Minimal] 09.Yrsen – Unreleased 10.Linear System & Yrsen – Unreleased 11.CMRK – Glowing void (Original Mix) [Astaction] 12.Yrsen – Unreleased 13.Yrsen – Unreleased 14.Yrsen – Unreleased 15.Diepzeebeest – Daydream - JFM2 [Vertebrate] 16.Yrsen – Unreleased 17.Yrsen – Unreleased Connor Wall – Orbital Momentum [Phorum] 18.A4 – On the Seashore [Semantica] 19.A4 – Dream Within a Dream [Semantica] 20.Mathys Lenne – The Road is Wider Than Long [Mord] 21.Yrsen – Black Dahlia (dxrvo Remix) [Lunarecords] 22.F.RITS – Formless Being (Original Mix) [Modern Minimal] 23.Surgeon – Fall (Original Mix) [Tresor] 24.DJ Sodeyama – Nephthys (Original Mix) [Illegal Alien] 25.Yrsen – Z04 [47] 26.Fixon – Take us asteroid [Ssensorial] 27.Mana Mind – Unreleased 28.Linear System & Yrsen – Unreleased 29.Finalversion3 – Vulnerables (Peder Mannerfelt Remix) [Gordo Trax] 30.Jónsi – Boy 1904 (2019 Remaster) [Riceboy]

This week, we talk about the All Hallows Eve that came and went, from partying downtown to handing out the candy. The Boy's run down the gamut of the AB extradition, Anthony Edwards child support, and the actors and players with the most kids. We smell what's cooking with BBL's, and Travis fills us in on the North Korean Poop problem. we lock in our Tubi Time Homework for the week... He Played Me!Next time you're maxin' and relaxin' on the john, make sure to subscribe to our YouTube, and like and follow us on all of our socials!

Boy, did Interlagos deliver! Ben and Sam review the banger race between the lakes, from Norris's near-perfect weekend and Antonelli's best F1 finish to Verstappen's epic charge from the pit lane, plus all the chaos, penalties, and battles along the way... FOLLOW us on socials! You can find us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X (Twitter)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ SUPPORT our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for bonus episodes JOIN our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ community JOIN our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠F1 Fantasy League⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ EMAIL us at podcast@latebraking.co.uk   & SUBSCRIBE to our podcast! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Number 1000A thousand episodes of the GoNintendo Podcast? You have to be kidding me! I didn't think we had anything worth talking about to celebrate this occasion, but clearly I was wrong. We had another super-sized show complete with special guests, lots of laughs, secrets and plenty of tears. Hope you enjoy, and thanks for the longtime support!

The lights drop in Atlanta and Paul McCartney steps into a room full of memory—and invention. We unpack how an icon in his eighties still delivers a two-hour-forty marathon by leaning on tight harmonies, a punchy horn section, and the kind of live tech that lets Being for the Benefit of Mr. Kite explode off a modern stage. The show's emotional peak arrives when Paul sings I've Got a Feeling with John via Get Back footage, a moment that proves technology can connect past and present without cheapening either one.From there we chase the thread of discovery. Remember when The Doors felt brand new again in 1980? A radio deep dive, Apocalypse Now, and a greatest hits record turned Hello, I Love You and Riders on the Storm into fresh obsessions for a new generation. We map that rush forward and backward: how L.A. Woman and Morrison Hotel still punch, how Mr. Mojo Risin' became every teenager's riddle. Along the way, we decode the stories behind The Rolling Stones' Get Off of My Cloud and Neil Diamond's Cracklin' Rosie, and how fame, loneliness, and late-night singalongs sneak into pop myth.Then we give American Beauty the close listen it deserves. From Box of Rain's tenderness to Ripple's campfire wisdom and Truckin's road-scarred grin, we talk sequencing, sunshine daydream codas, and the tradition behind I Know You Rider. We round out the tour with U2's Boy—lean, urgent, and still startling—and a Ramones reappraisal that finds great songs beneath Phil Spector's glossy wall. Through it all, one idea keeps returning: artists adapt, listeners evolve, and the best songs keep meeting us where we are.If that resonates, hit play, follow the show, and share it with a friend who loves live music and music history. Leave a review to tell us which song hit you differently this time—we'll feature our favorite takes on a future episode.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Boy in Blue on Van Sessions!   Support the program: https://t.ly/KsrVL   Van Sessions is Recorded at The Monarch in Ogden, Utah.   ARTIST | Boy In Blue   FULL SET LIST Track 1 - Mr. Operation Track 2 - All For Nothing Track 3 - Still A Boy Track 4 - Bottle of Broken Cheers Track 5 - The Songs We Sing     ARTIST LINKS   INSTAGRAM: https://www.instagram.com/rileyrawlings/ SPOTIFY: https://open.spotify.com/artist/1hfdkC91GVmtMJyN3Ksoxh?si=kxhsr1QAQuK8maiVpCq96A   PRESENTING SPONSORS   The Monarch Building: https://themonarchogden.com/ The Banyan Collective: http://www.thebanyancollective.com/   GRANTING SPONSOR   Ogden City Arts: https://ogdencity.com/707/Arts   CREDITS   Producer: The Banyan Collective Host: R. Brandon Long, brandon@thebanyancollective.com Bookings: Todd Oberndorfer, todd@thebanyancollective.com Audio Mix: Scott Rogers, The Proper Way https://theproperwayband.com/studio DOP: Dixon Stoddard, https://www.instagram.com/studios_d21/ Photography: Avery Atkinson: https://www.instagram.com/avery_atkinson_/   FOLLOW // SUBSCRIBE   Van Sessions Instagram: https://www.instagram.com/vansessions/ Van Sessions Facebook: https://www.facebook.com/thevansessions Van Sessions YouTube: https://www.youtube.com/@vansessionspod   Tip Jar:  https://www.buymeacoffee.com/banyanmedia   The drive behind Van Sessions is to create a music discovery community for Northern Utah musicians to share their work, refine their craft, and network with other artists.   Van Sessions helps support local musicians, photographers, and videographers through our project. Show your support for local artists by subscribing to Van Sessions on YouTube @vansessionspod or search "Van Sessions Podcast" on your favorite podcast platform.   Join us live at the Monarch in Ogden every First Friday to be a part of the free concert and video podcast recording.   Bookings: todd@thebanyancollective.com   #vansessions #musicdiscovery #localmusic #podcast #music #ogden #firstfriday #boyinblue

Boy, did Interlagos deliver! Ben and Sam review the banger race between the lakes, from Norris's near-perfect weekend and Antonelli's best F1 finish to Verstappen's epic charge from the pit lane, plus all the chaos, penalties, and battles along the way... Want more Late Braking? Support the show on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and get: Ad-free listening Full-length bonus episodes Power Rankings after every race Historical race reviews & more exclusive extras! Give the 'gift' of Late Braking this holiday period with a Patreon gift subscription,⁠⁠ and your favourite F1 fan can enjoy anywhere from 1 month up to a full year of top-notch F1 content! https://www.patreon.com/latebrakingf1/gift Connect with Late Braking: You can find us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X (Twitter)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Come hang out with us and thousands of fellow F1 fans in our ⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ server and get involved in everyday chat & lively race weekend discussions! Think you can beat us? Join our F1 Fantasy League⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and prove it! Get in touch any time at podcast@latebraking.co.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Boy in Blue on Van Sessions!   Support the program: https://t.ly/KsrVL   Van Sessions is Recorded at The Monarch in Ogden, Utah.   ARTIST | Boy In Blue   FULL SET LIST Track 1 - Mr. Operation Track 2 - All For Nothing Track 3 - Still A Boy Track 4 - Bottle of Broken Cheers Track 5 - The Songs We Sing     ARTIST LINKS   INSTAGRAM: https://www.instagram.com/rileyrawlings/ SPOTIFY: https://open.spotify.com/artist/1hfdkC91GVmtMJyN3Ksoxh?si=kxhsr1QAQuK8maiVpCq96A   PRESENTING SPONSORS   The Monarch Building: https://themonarchogden.com/ The Banyan Collective: http://www.thebanyancollective.com/   GRANTING SPONSOR   Ogden City Arts: https://ogdencity.com/707/Arts   CREDITS   Producer: The Banyan Collective Host: R. Brandon Long, brandon@thebanyancollective.com Bookings: Todd Oberndorfer, todd@thebanyancollective.com Audio Mix: Scott Rogers, The Proper Way https://theproperwayband.com/studio DOP: Dixon Stoddard, https://www.instagram.com/studios_d21/ Photography: Avery Atkinson: https://www.instagram.com/avery_atkinson_/   FOLLOW // SUBSCRIBE   Van Sessions Instagram: https://www.instagram.com/vansessions/ Van Sessions Facebook: https://www.facebook.com/thevansessions Van Sessions YouTube: https://www.youtube.com/@vansessionspod   Tip Jar:  https://www.buymeacoffee.com/banyanmedia   The drive behind Van Sessions is to create a music discovery community for Northern Utah musicians to share their work, refine their craft, and network with other artists.   Van Sessions helps support local musicians, photographers, and videographers through our project. Show your support for local artists by subscribing to Van Sessions on YouTube @vansessionspod or search "Van Sessions Podcast" on your favorite podcast platform.   Join us live at the Monarch in Ogden every First Friday to be a part of the free concert and video podcast recording.   Bookings: todd@thebanyancollective.com   #vansessions #musicdiscovery #localmusic #podcast #music #ogden #firstfriday #boyinblue

On the 485th episode of Piecing It Together, Chad Clinton Freeman joins me to talk about Guillermo del Toro's new take on the classic monster tale, Frankenstein! Chad was my guest years ago for an episode on the original Frankenstein, so this episode bookends decades of adaptation of the classic story. Puzzle pieces include Ex Machina, Re-Animator, Chappie and The Crow.As always, SPOILER ALERT for Frankenstein and the movies we discuss!Written by Guillermo del ToroDirected by Guillermo del ToroStarring Oscar Isaac, Jacob Elordi, Mia Goth, Christoph WaltzNetflixChad Clinton Freeman is a film fan and the founder of the Pollygrind Film Festival.My latest David Rosen album MISSING PIECES: 2018-2024 is a compilation album that fills in the gaps in unreleased music made during the sessions for 2018's A Different Kind Of Dream, 2020's David Rosen, 2022's MORE CONTENT and 2025's upcoming And Other Unexplained Phenomena. Find it on Bandcamp, Apple Music, Spotify and everywhere else you can find music.You can also find more about all of my music on my website https://www.bydavidrosen.comMy latest music video is “Shaking" which you can watch at https://www.youtube.com/watch?v=wzm8s4nuqlAThe song at the end of the episode is "Dr. Frankenstein" from The Pup Pups third album A Boy and His Dog and Three Cats and A Bear!Make sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion Group.And check out https://www.piecingpod.com for more about our show!And if you want to SUPPORT THE SHOW, you can now sign up for our Patreon at https://www.patreon.com/bydavidrosenYou can also support the show by checking out our Dashery store to buy shirts and more featuring Piecing It Together logos, movie designs, and artwork for my various music projects at https://bydavidrosen.dashery.com/Share the episode, comment and give us feedback! And of course, SUBSCRIBE!And of course, don't forget to leave us a 5 star review on Goodpods, Apple Podcasts, Spotify, or Podchaser!And most important of all… Keep going to the theater...

If you have ever been afraid of being lost in the woods... My Mom thinks her Fedex driver might murder her. Do you allow your kids around their grandparents when they're sick ASK MY MOM: I'm not attracted to my wife anymore... Become a Certified Fan! Help support the podcast and get our Thursday show, More Mama's Boy!  Adopt An Episode! Want to show us a little extra love? Adopt an Episode and get a personal shoutout in an upcoming show! This episode was adopted by the amazing Margaret H. of Georgia! Thank you!! A special thank you to our Boy-lievers for your extra support of our show: Angela P, Donald S, Queen Pam, Karissa R, Lisa H, Michele K, Tina U, Candy Z, Karen W, & Alexandra T! Listen to my other podcast, “Kramer and Jess Uncensored”! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Fine Tooning with Drew Taylor, Jim Hill and Drew Taylor mark the 20th anniversary of Chicken Little — Disney's first fully computer-animated feature — and trace how the film's rocky launch reshaped the studio's animation strategy in the mid-2000s. Recorded the morning after Daylight Savings Time kicked in, this episode mixes history, humor, and behind-the-scenes insight as the guys unpack what really happened inside Disney Animation during one of its most volatile eras. HIGHLIGHTS Drew and Jim revisit the creative chaos that followed The Emperor's New Groove and how Mark Dindal & Randy Fullmer's next project evolved into Chicken Little. Why Bob Iger's early plans to buy Pixar cast a shadow over the film's release. How Chicken Little became both a casualty and catalyst in Disney's CGI transformation. Updates on the new Zootopia Zoobetter Together 4-D show at Animal Kingdom and why fans may want to wait for the Merrie Menagerie's return. Studio Ghibli Fest's finale screenings of The Boy and the Heron, plus news on Laika's upcoming Wildwood and ESPN's animated Monsters Funday Football event. Hosts Drew Taylor — X/Twitter: @DrewTailored | Instagram: @drewtailored | Website: drewtaylor.work Jim Hill — X/Twitter: @JimHillMedia | Instagram: @JimHillMedia | Website: jimhillmedia.com Patreon Support Fine Tooning and the Jim Hill Media Podcast Network on Patreon: patreon.com/jimhillmedia Follow Us Facebook: @JimHillMediaNews | YouTube: @jimhillmedia | TikTok: @jimhillmedia Producer Credits Edited by Dave Grey Produced by Eric Hersey — Strong Minded Agency Sponsor This episode is brought to you by UnlockedMagic.com — where you can save up to 12% on Walt Disney World and Universal Orlando tickets, including hard-ticket events like Mickey's Very Merry Christmas Party and Jollywood Nights. ⁠⁠⁠⁠Learn More⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Once again, Israeli bombs rained down on Gaza. The latest wave of strikes killed more than 100 people, mostly women and children, according to health authorities. The bombardment marked the deadliest day since the weeks-old U.S.-brokered ceasefire between Israel and Hamas began on October 10 — a ceasefire Israel has repeatedly broken with impunity.“As the Trump administration likes to say, the ceasefire is still in place. And the media has parroted that as well. But an overwhelming amount of people that we spoke to on the ground are saying that there is no ceasefire with killings being at this rate. This is a continuation of the genocide,” says Intercept reporter Jonah Valdez. Palestinians “have a very crystal-clear view of Israel's policy and their goal of wanting mass expulsion from Gaza. ... Those who are surviving it and living it are seeing through the propaganda that the ceasefire is still in place.”On The Intercept Briefing, Valdez joins host Jordan Uhl and reporter Matt Sledge to explain why President Donald Trump “has a lot to gain from continuing to tell the public that there is a ceasefire” and to discuss the news stories published on The Intercept this week.“It's important to mention this layer of hope that exists. No one wants to call the ceasefire dead prematurely because if it surviving allows for other Palestinians and Gaza to survive,” Valdez adds, “then, you know, of course they have vested interest in seeing the truce live on.”And back in the United States, Trump's pay-to-play approach to running the government continues unabated. Trump recently pardoned the billionaire crypto king, Binance founder Changpeng Zhao, whose company has done business benefiting the Trump family. “Binance overnight became the biggest customer of the Trump family venture, which is called World Liberty Financial,” Sledge points out. “I think a lot of skeptics out there are saying, like, ‘Boy, this sure just looks exactly like pay to play, like quid pro quo.'”Listen to the full conversation of The Intercept Briefing on Apple Podcasts, Spotify, or wherever you listen.You can support our work at theintercept.com/join. Your donation, no matter the amount, makes a real difference. Hosted on Acast. See acast.com/privacy for more information.