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Dawn is joined by her sister, Lisa; and niece, Ellie for the HILF-ing of Los Angeles's most famous true-crime tragedy. Hear about Charles Manson and how the world learned about his sinister cult.As Dawn is a resident of LA, you'll ride shot-gun briefly as they leave the studio and visit a crime scene in order to better understand this dark page from LA's past.   Buckle up!SILF's (Sources I'd Like to F*ck)Book - Helter Skelter by Vincent BugliosiBook - Choas by Tom O'NeillNetflix Doc on book, Choas by Tom O'NeillYOUTUBE - Leslie Van Houten InterviewYOUTUBE - Patricial Krenwinkel InterviewYOUTUBE - Tex Watson and his spiritual journey while incarcerated.YOUTUBE - Susan Atkins Interview (1980's Australia 60 Minutes)YOUTUBE - Diane Sawyer Interview with multiple members of the family. (1994)---LILF's (Link's I'd Like to F*ck) See Dawn on THE HISTORY CHANNEL - Histories Greatest Mysteries (multiple seasons)See Dawn on THE HISTORY CHANNEL - Crazy Rich AncientsCheck out HILF MERCH now available on Redbubble! Stickers, t-shirts, bags and more!HILF is now on Patreon!Buy Me a CoffeeFind your next favorite podcast on BIG COMEDY NETWORK.---WANNA TALK? Find us on Instagram or email us hilfpodcast@gmail.comTheme song: Composed and performed by Kat PerkinsPodcast art: Designed by Joe Dressel 

Early modernity has long been seen as a crucial period in the history of biblical scholarship, witnessing rapid advances in studies of Hebrew, Greek, and the ancient Jewish and Christian past. Historians have devoted much attention to how these developments were received by the academic and clerical elite, and yet there is little research on their reception beyond such exclusive circles. Some have even argued that ordinary believers had no interest in the demanding world of elite scholarship. According to current narratives, the Protestant laity were preoccupied by practical piety, scripture-reading, and devotional exercises, all of which were far removed from the dazzling polyglot erudition of the scholar.  Lay Learning and the Bible in the Seventeenth-Century Atlantic World (Oxford University Press, 2024) offers an alternative account of popular religion in early modernity by reconstructing a striking and unstudied community of seventeenth-century puritan immigrants to North America. Composed of tradespeople without a university education, this community offers unparalleled evidence for lay engagement with even the most abstruse and challenging concerns of contemporaneous biblical scholarship. Drawing on whatever resources they could find, this group taught themselves the languages of biblical criticism; immersed themselves in the most specialized questions of controversial theology; and then promulgated, through their hard-earned learning, an unprecedentedly inclusive vision of education, society, and the church. By recovering their lives and interests, this book presents a new vision of lay puritanism in the Atlantic world, one marked by far greater ambition, critical thought, and intellectual boldness than ever before suspected. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Matthew Bannister onHannah Deacon who ran a successful campaign to allow her son – and many others – to be treated with cannabis after he was diagnosed with a rare form of epilepsy. Andrew Norfolk, the journalist who exposed the Rotherham grooming gang scandal.Dame June Clark, the President of the Royal College of Nursing who argued for more education to increase the skills of the nursing profession.Martin Graham the businessman who built his own opera house in the Cotswolds so he could stage Wagner's Ring Cycle. Producer: Ed PrendevilleArchive used: No More Nightingale, BBC, 1991; One O'Clock News, BBC, 03/04/1989; Open Country, BBC Radio 4, 27/06/2019; The Longborough Ring 2024: Wagner – Der Ring des Nibelungen, Longborough Festival Opera, Music Director Anthony Negus, Director Amy Lane; Today, BBC Radio 4, 2013; Utopia: In Search of the Dream, BBC Four, 05/05/2020; Sportsday, BBC News 24, 15/09/2016; BBC Breakfast, BBC, 19/02/2018; This Morning: Should Medical Cannabis Be More Accessible, ITV, Uploaded to YouTube, 29/10/2018; Morning Live, BBC, 07/11/2022; The Today Programme, BBC Radio 4, 19/06/2018; ITV News, ITV, 19/06/2018; Wogan, BBC, 19/01/1990; Raising a Glass to Cheers, BBC Radio 4, 26/07/2012; Cheers, TV Programme, Produced by Charles/Burrows/Charles Productions; Groomed for Sex, BBC Three, 06/12/2011; The Media Show, BBC Radio 4, 27/08/2014; Frontlines of Journalism, BBC Radio 4, 04/07/2023; Symphony No. 39 in E-flat major, KV 543: Adagio. Allegro, Performed by Bruno Walter, BBC Symphony Orchestra, Composed by Wolfgang Amadeus Mozart; Siegfried, Act II Scene 3: Willkommen, Siegfried, Performed by Manfred Jung, Heinz Zednik, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner; Le nozze di Figaro, K.492, Act 3: Ricevete, o padroncina, Performed by Radio-Symphonie-Orchester Berlin, RIAS Kammerchor, Conductor Ferenc Fricsay, Composed by Wolfgang Amadeus Mozart; Das Rheingold, Scene 1: Lugt, Schwestern! Die Weckerin lacht in den Grund, Performed by Norma Sharp, Ilse Gramatzki, Marga Schiml, Hermann Becht, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner

Early modernity has long been seen as a crucial period in the history of biblical scholarship, witnessing rapid advances in studies of Hebrew, Greek, and the ancient Jewish and Christian past. Historians have devoted much attention to how these developments were received by the academic and clerical elite, and yet there is little research on their reception beyond such exclusive circles. Some have even argued that ordinary believers had no interest in the demanding world of elite scholarship. According to current narratives, the Protestant laity were preoccupied by practical piety, scripture-reading, and devotional exercises, all of which were far removed from the dazzling polyglot erudition of the scholar.  Lay Learning and the Bible in the Seventeenth-Century Atlantic World (Oxford University Press, 2024) offers an alternative account of popular religion in early modernity by reconstructing a striking and unstudied community of seventeenth-century puritan immigrants to North America. Composed of tradespeople without a university education, this community offers unparalleled evidence for lay engagement with even the most abstruse and challenging concerns of contemporaneous biblical scholarship. Drawing on whatever resources they could find, this group taught themselves the languages of biblical criticism; immersed themselves in the most specialized questions of controversial theology; and then promulgated, through their hard-earned learning, an unprecedentedly inclusive vision of education, society, and the church. By recovering their lives and interests, this book presents a new vision of lay puritanism in the Atlantic world, one marked by far greater ambition, critical thought, and intellectual boldness than ever before suspected. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Composed by Noriko Nishizaka, Yoko Mizuta, Saburo Sasaki Track Listing Title Screen Parachute Helmet Level 1 Chef Vermin Donkey Kong Ball   Check out the Discord!!! https://discord.gg/m4e6xmtrft

Curator Sukanya Rajaratnam and biographer Jon Ott weld together African American culture and 20th century Western/European modernism, through Richard Hunt's 1956 sculpture, Hero's Head.Born on the South Side of Chicago, sculptor Richard Hunt (1935-2023) was immersed in the city's culture, politics, and architecture. At the major exhibition, Sculpture of the Twentieth Century, which travelled from the Museum of Modern Art (MoMA) in New York in 1953, he engaged with the works of artists Julio González, Pablo Picasso, and Constantin Brâncuși - encounters with Western/European modernism, that ‘catalysed' his use of metal, as the medium of his time and place.Hero's Head (1956), one of Richard's earliest mature works, was the first among many artistic responses dedicated to the legacy of Emmett Till. The previous year, Hunt joined over 100,000 mourners in attendance of the open-casket visitation of Till, a 14-year-old African American boy whose brutal lynching in Mississippi marked a seismic moment in national history. Modestly scaled to the dimensions of a human head, and delicately resting on a stainless-steel plinth, the welded steel sculpture preserves the image of Till's mutilated face. Composed of scrap metal parts, with dapples of burnished gold, it reflects the artist's use of found objects, and interest in ancient Greek and Roman mythology, which characterise his later works.With the first major European exhibition, and posthumous retrospective, of Richard's work at White Cube in London, curators Sukanya Rajaratnam and Jon Ott delve into the artist's prolific career. We critically discuss their diasporic engagement with cultural heritage; Richard collected over one thousand works of 'African art', referenced in sculptures like Dogonese (1985), and soon travelled to the continent for exhibitions like 10 Negro Artists from the US in Dakar, Senegal (1965). Jon details the reception of Richard's work, and engagement with the natural environment, connecting the ‘red soil' of Africa to agricultural plantations worked by Black slaves in southern America. We look at their work in a concurrent group exhibition at the Centre Pompidou, which retraces the presence and influence of Black artists in Paris, and considers the city as a ‘mobile site', highlighting the back-and-forth exchanges between artists, media, and movements like abstract expressionism. Shared forms are found in the works of French painters, Wangechi Mutu's Afrofuturist bronzes, and Richard's contemporaries practicing in France, Spain, Italy, and England.Plus, LeRonn P. Brooks, Curator at the Getty Research Institute, details Richard's ongoing legacies in public sculpture, and commemorations of those central to the Civil Rights Movement, including Martin Luther King Jr., Ida B. Wells-Barnett, Mary McLeod Bethune, Hobart Taylor Jr., and Jesse Owens.Richard Hunt: Metamorphosis is at White Cube Bermondsey in London until 29 June 2025.Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000 is at the Centre Pompidou in Paris until 30 June 2025.Listen to Sylvia Snowden at White Cube Paris, in the EMPIRE LINES episode on M Street (1978-1997).Hear more about Wangechi Mutu's This second dreamer (2017), with Ekow Eshun, curator of the touring exhibition, The Time is Always Now (2024).For more about Dogonese and ‘African masks' from Mali, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, part of ⁠PEACE FREQUENCIES 2023⁠.For more about ‘Negro Arts' exhibitions in Dakar, Senegal, read about Barbara Chase-Riboud: Infinite Folds at the Serpentine in London.For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee's Bend (20th Century-Now).

Episode 172 Chapter 31, ARP Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 31, ARP Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH ARP ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Elias Tanenbaum, “Contrasts” (1971) from ARP Art. Used the ARP Odyssey. 05:03 01:40 2.     ARP demonstration. Roger Powell and Harry Coon, The ARP 2500—How it Sounds, side 2 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Music by Harry Coon and an improvisation by Roger Powell. 06:19 06:46 3.     ARP demonstration. Roger Powell and Harry Coon, The ARP 2600—How it Works, side 1 from The Electronic Sounds Of The Arp Synthesizer 2600 And 2500 (1972 ARP Instruments). Vinyl, 7", 33 ⅓ RPM. Narrated and all music by Roger Powell. 07:38 13:02 4.     Roger Powell, “Ictus: Primordial Pulse,” (4:57), “Lumia: Dance Of The Nebulae” (5:14), “Fourneau Cosmique: The Alchemical Furnace Of Cleopatra,” (7:42) (1973) from Cosmic Furnace. Featured the ARP 2500, ARP Soloist, ARP 2600, and ARP Odyssey. 17:50 20:40 5.     Bobbi Humphrey, “My Little Girl” (1974) from Satin Doll. Featured Larry Mizell on ARP synthesizers. 06:38 38:32 6.     Herbie Hancock, “Palm Grease” (1974) from Thrust. Featured the ARP Odyssey, ARP Soloist, ARP 2600, and ARP String synthesizer. 10:35 45:16 7.     John Keating, “Starcluster” (1975) from Space Experience 2.  Featured the ARP 2600 and Pro- Soloist. 03:44 55:50 8.     Joseph Byrd, “The Stars and Stripes Forever” (1976) from Yankee Transcendoodle. Featured the ARP Odyssey. 03:22 59:34 9.     Charles Earland, “Sons of the Gods” (1976) from Odyssey. Featured the ARP Pro- Soloist, ARP Axe, ARP String Ensemble, Clavinet and organ. 05:44 01:02:58 10.   Jean Michel Jarre, “Oxygene, Parts I, II, and III” (1976) from Oxygene. Used ARP and other synthesizers. 18:40 01:08:39 11.   Michel Magne, “Trip Psychiatrique” (1978) from Elements, La Terre(1978). Featured the ARP Odyssey, ARP Omni Polyphonique, and ARP 2600. 04:35 01:27:22 12.   Mike Mandel, “Pyramids” from Sky Music (1978). Featured the ARP Odyssey, ARP Pro Soloist, and ARP Omni II. 05:59 01:36:51 13.   Eliane Radigue, “Triptych Part 2” (1978) from Triptypch. Composed and performed on the ARP 2500 modular synthesizer. 11:56 01:37:52   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Hear the story of Rosemary Kennedy, sister to John F Kennedy, who goes from being the media-darling of a royal ball, to the the victim of a botched lobotomy at the age of 23. To thank for this sad and fascinating HILF is Molly McAleer who is a comedy writer, and behind the mic of a few hit podcasts including Trend Lightly, and Mother May I Sleep With - which is devoted to Lifetime movies!Catch Molly's LIVE SHOW Friends Only Live! (June 25th, 2025 - BOSTON) ---SILF's (Sources I'd Like to F*ck)Book - The Hidden Kennedy Daughter by Kate Clifford Larson (2016)Lecture - The Hidden Kennedy Daughter author, Kate Clifford Larson at George Washington UniversityFilm - The LobotomistMore Video about Dr. Watts, Lobotomist. Watch news reel about Rosemary's appearance at the English Royal Court.---LILF's (Link's I'd Like to F*ck) See Dawn on THE HISTORY CHANNEL - Histories Greatest Mysteries (multiple seasons)See Dawn on THE HISTORY CHANNEL - Crazy Rich AncientsCheck out HILF MERCH now available on Redbubble! Stickers, t-shirts, bags and more!HILF is now on Patreon!Buy Me a CoffeeFind your next favorite podcast on BIG COMEDY NETWORK.---WANNA TALK? Find us on Instagram or email us hilfpodcast@gmail.comTheme song: Composed and performed by Kat Perkins

Designing Women, Season 6, Episode 20: I Enjoy Being a GirlCarlene becomes a troop leaderWatch along with us on Hulu (Not Sponsored)Buy our Merch: www.mimsandmaim.comSupport us on Patreon at www.patreon.com/mimsandmaimThank you to our Patrons:Sharon JDeana FElizabeth JAdam PCrystal AMorgan WCody HJessie PSheri SEmail Us: mimsandmaim@gmail.comCall Us: 7043800618Support us Via PayPal: https://www.paypal.com/donate?hosted_button_id=VNMM8UTK485XQSpecial thanks to Miss B for her sponsorship of our podcast. You can find her on TikTok @GeektombFind the queens on Twitter:Auntie Maim: @auntiemaimsThe Divine Miss Mims: @divinemissmimsThank you to MrMahaffey for our lovely artwork.Follow him on Instagram: www.instagram.com/MrMahaffeyEtsy Store: www.etsy.com/shop/MrMahaffeyOur Theme Song is Composed by JDR #1980s #1990s #auntiemaim #Charlene #comedyqueens #designingwomen #dragqueens #Julia #lgbt #Maryjo #podcast #sitcom #Suzanne #thedivinemissmims #Anthony #Bernice #rewatch #classic #lgbtq #hulutv #tv #newepisode

durée : 00:57:59 - "Prelude to a Kiss" (Duke Ellington / Irving Mills / Irving Gordon) (1938) - par : Laurent Valero - "classique du répertoire Ellingtonien composé par le Duke en 1938 quand l'orchestre connaissait un grand succès permettant à Ellington de composer en toute liberté et indépendance des mélodies sophistiquées voire complexes qui s'éloignent des standards du swing triomphant de l'époque" Laurent Valero

durée : 00:57:59 - "Prelude to a Kiss" (Duke Ellington / Irving Mills / Irving Gordon) (1938) - par : Laurent Valero - "classique du répertoire Ellingtonien composé par le Duke en 1938 quand l'orchestre connaissait un grand succès permettant à Ellington de composer en toute liberté et indépendance des mélodies sophistiquées voire complexes qui s'éloignent des standards du swing triomphant de l'époque" Laurent Valero

Episode 171 Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Delia Derbyshire, “Dance From ‘Noah' " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2.     Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3.     Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4.     Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5.     Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973).  Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6.     The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7.     Peter Zinovieff, “A Lollipop For Papa” (1974).  Realized with the EMS Synthi AKS. 06:26 48:04 8.     Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9.     J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10.   J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11.   Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12.   Henry Sweitzer, “Open Windows” (1979) from Te Deum.  Realized with the EMS Synthi AKS. 11:11 01:09:02 13.   Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14.   Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15.   Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 8ú lá de mí Bealtaine, liomsa Lauren Ní Loingsigh. I 1971 bhí dochtúirí ag iarradh saol cailín a shábháil tar éis a loisceadh í agus dhá uair dhiúltaigh lena tuismitheoirí aistriú fola a dhéanamh. I 1987 d'fhan an polaisaí pá don rialtas I rith comhréiteach den ESB agus d'fhan sé faoin ráta boilscithe timpeall 3.4%. I 1971 bhí siopa saor ó dhleacht oscailte I gcríochfort aerfoirt na Sionainne I gcóir daoine a raibh ag teacht isteach ar eitleán mór. I 1998 bhí an Tíogar Ceilteach an tsonraíocht timpeall Sionainn mar tháinig sé amach go raibh 200 post nua ag teacht. Sin Starship le Nothing's Gonna Stop Us Now – an t-amhrán is mó ar an lá seo I 1987. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1976 fuair ABBA a tríú huimhir a haon sa Bhreatain lena amhrán Fernando agus bhí sé an t-amhrán a dhíol den chuid is mó don bhanna cheoil le níos mó ná 10 milliúin chóip. Chum Benny agus Bjorn an t-amhrán. Níor tháinig ABBA amach leis an amhrán ar dtús ach tháinig Anni ón bhanna cheoil amach leis an amhrán ar dtús ar a albam I 1975. I 1993 fuair Aerosmith uimhir a haon I Meiriceá lena albam Get A Grip agus shroich siad uimhir 2 sa Bhreatain. Dhíol siad níos mó ná 20 milliúin cóip den albam timpeall an domhain agus bhuaigh siad dhá Grammy. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh David Attenborough sa Bhreatain I 1926 agus rugadh amhránaí Enrique Iglesias sa Spáinn ar an lá seo I 1975 agus seo chuid de a amhrán. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 8th of May, with me Lauren Ní Loingsigh 1971: doctors were trying to save the life of a badly burned 15 year old girl and were twice refused by the girls parents to add minister blood transfusions. 1987: The governments overall pay policy remained intact through settlement of the ESB dispute at fractionally below the current 3.4 per cent inflation rate. 1971: Duty free shops were put in jumbo terminal in shannon aiport for the arrival of jumbo jet passengers. 1998: the roar of the celtic tiger was reverberating loud and clear around shannon as underlined by this weeks announcement of over 200 new jobs for the free zone. That was Starship with Nothing's Gonna Stop Us Now – the biggest song on this day in 1987. Onto music news on this day In 1976 ABBA scored their third UK No.1 single with Fernando, the song went on to become ABBA's biggest selling single, with sales over 10 million. Composed by Benny and Björn the song carried the working title of ‘Tango'. ‘Fernando' was not originally released as an ABBA song but as a solo single by band member Anni – featured on her 1975 solo album 1993 Aerosmith entered the US album chart at No.1 with 'Get A Grip', a No.2 hit in the UK. The album went on to sell over 20 million copies worldwide as well as winning the band two Grammy awards. And finally celebrity birthdays on this day – presenter David Attenborough was born in the UK in 1926 and singer Enrique Iglesias was born in Spain on this day in 1975 and this is one of his songs. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Explains language models (LLMs) advancements. Scaling laws - the relationships among model size, data size, and compute - and how emergent abilities such as in-context learning, multi-step reasoning, and instruction following arise once certain scaling thresholds are crossed. The evolution of the transformer architecture with Mixture of Experts (MoE), describes the three-phase training process culminating in Reinforcement Learning from Human Feedback (RLHF) for model alignment, and explores advanced reasoning techniques such as chain-of-thought prompting which significantly improve complex task performance. Links Notes and resources at ocdevel.com/mlg/mlg34 Build the future of multi-agent software with AGNTCY Try a walking desk stay healthy & sharp while you learn & code Transformer Foundations and Scaling Laws Transformers: Introduced by the 2017 "Attention is All You Need" paper, transformers allow for parallel training and inference of sequences using self-attention, in contrast to the sequential nature of RNNs. Scaling Laws: Empirical research revealed that LLM performance improves predictably as model size (parameters), data size (training tokens), and compute are increased together, with diminishing returns if only one variable is scaled disproportionately. The "Chinchilla scaling law" (DeepMind, 2022) established the optimal model/data/compute ratio for efficient model performance: earlier large models like GPT-3 were undertrained relative to their size, whereas right-sized models with more training data (e.g., Chinchilla, LLaMA series) proved more compute and inference efficient. Emergent Abilities in LLMs Emergence: When trained beyond a certain scale, LLMs display abilities not present in smaller models, including: In-Context Learning (ICL): Performing new tasks based solely on prompt examples at inference time. Instruction Following: Executing natural language tasks not seen during training. Multi-Step Reasoning & Chain of Thought (CoT): Solving arithmetic, logic, or symbolic reasoning by generating intermediate reasoning steps. Discontinuity & Debate: These abilities appear abruptly in larger models, though recent research suggests that this could result from non-linearities in evaluation metrics rather than innate model properties. Architectural Evolutions: Mixture of Experts (MoE) MoE Layers: Modern LLMs often replace standard feed-forward layers with MoE structures. Composed of many independent "expert" networks specializing in different subdomains or latent structures. A gating network routes tokens to the most relevant experts per input, activating only a subset of parameters—this is called "sparse activation." Enables much larger overall models without proportional increases in compute per inference, but requires the entire model in memory and introduces new challenges like load balancing and communication overhead. Specialization & Efficiency: Experts learn different data/knowledge types, boosting model specialization and throughput, though care is needed to avoid overfitting and underutilization of specialists. The Three-Phase Training Process 1. Unsupervised Pre-Training: Next-token prediction on massive datasets—builds a foundation model capturing general language patterns. 2. Supervised Fine Tuning (SFT): Training on labeled prompt-response pairs to teach the model how to perform specific tasks (e.g., question answering, summarization, code generation). Overfitting and "catastrophic forgetting" are risks if not carefully managed. 3. Reinforcement Learning from Human Feedback (RLHF): Collects human preference data by generating multiple responses to prompts and then having annotators rank them. Builds a reward model (often PPO) based on these rankings, then updates the LLM to maximize alignment with human preferences (helpfulness, harmlessness, truthfulness). Introduces complexity and risk of reward hacking (specification gaming), where the model may exploit the reward system in unanticipated ways. Advanced Reasoning Techniques Prompt Engineering: The art/science of crafting prompts that elicit better model responses, shown to dramatically affect model output quality. Chain of Thought (CoT) Prompting: Guides models to elaborate step-by-step reasoning before arriving at final answers—demonstrably improves results on complex tasks. Variants include zero-shot CoT ("let's think step by step"), few-shot CoT with worked examples, self-consistency (voting among multiple reasoning chains), and Tree of Thought (explores multiple reasoning branches in parallel). Automated Reasoning Optimization: Frontier models selectively apply these advanced reasoning techniques, balancing compute costs with gains in accuracy and transparency. Optimization for Training and Inference Tradeoffs: The optimal balance between model size, data, and compute is determined not only for pretraining but also for inference efficiency, as lifetime inference costs may exceed initial training costs. Current Trends: Efficient scaling, model specialization (MoE), careful fine-tuning, RLHF alignment, and automated reasoning techniques define state-of-the-art LLM development.

Send us a textGary invites you to help him celebrate the milestone of having reached one hundred episodes of EYP, with some suitable music along the way.PlaylistShotts and Dykehead Caledonia Pipe Band with The First One Hundred, Century Bridge, Johnnie's Jig, A Deal With the Devil, Heartland, Caledonian Society of London, Lady MacKenzie of Gairloch, Hazel Lassell, The Pivover Express and the Lost from the World Pipe Band Championships 2010.Sandy Cameron with The Sandpiper, Alex MacDonald, I Have it Somewhere, The Haughs of Cromdale, The Ferryman, The Night We Had the Goats, Becky Ewan from The Wheel of Fortune 2025, EYP Recording.Cameron May with Duke of Roxburgh's Farewell to the Blackmount Forest,  and Mrs MacPherson of Inveran from The Wheel of Fortune 2025, EYP Recording.Vale of Atholl Pipe Band with Zito the Bubbleman, Susan MacLeod, Cecily Ross, the Lintie, Balandran Air, Lorient et Grand and the Pitlochry High School Centenary from the World Pipe Band Championships 2001.Cameron Drummond with Hi Ho ro Mo Nighneag, Inveran, Doctor MacInnes's Fancy, Irish Polkas, Silver Spear, Richard Dwyer's, The Kesh Jig, Irish Jigs from The Wheel of Fortune 2025, EYP RecordingBoghall and Bathgate Caledonia Pipe Band and the Porridge Men with the 93rd at Modder River and the Centenary Jewel from Boghall and Bathgate Caledonia Pipe Band in Concert.Bruce's March from The Bruce 700 Composed by Allan MacDonald and Neil JohnstoneSupport the show

Back on the airwaves of Vinyl Community Podcasts, Alex (Beer & Vinyl) shares a recent interview with musician/songwriter M Ross Perkins. M Ross Perkins is currently a featured artist on the Colemine Records label, and has a new album that dropped on May 2nd (interview recorded prior) entitled "What's The Matter, M Ross?" Composed, performed, and recorded completely by Perkins in his Dayton, OH studio, What's the Matter… is both the most stripped down and expansive within his tryptic of albums ("Wrong, Wrong, Wrong", "E Pluribus M Ross", and Now "What's The Matter..."). The headphone symphonies move with a deliberate, composed sophistication while the lyrics explore fresh territory, turning the camera away from the “butterscotch revue” and pointing it into a mirror. "The touchstones of psych pop remain: flourishes of Nilsson are still here, but so are Gram Parsons and Jonathan Richman. If you want to assign geography to What's the Matter, M Ross?, the album is equal parts Laurel Canyon and Big Pink, more Woodstock the town than the festival. Perkins is a self-contained (late-period) Teenage Fanclub with George Harrison's spiritual sense of inner wanderlust. Want a free copy? Available to anyone in lower 48 states head over to the Beer & Vinyl YouTube channel (specific video link below) and comment with some kind of musical connection to the state of Ohio. Deadline to enter is May 16th, 2025. And don't forget to check out thew new album "What's the Matter, M Ross" at your local independent record store or direct from Colemine Records (link also below). Bottoms up!

Tonsil stones are small, calcified formations that occur within the crevices of the tonsils. Composed of hardened minerals or food particles, these growths are generally harmless but can cause unpleasant symptoms such as bad breath or sore throat. Tonsil stones typically appear as small, white or yellowish pebbles on the tonsils. In most cases, they can be removed at home, although surgical intervention may be necessary if they persist or cause discomfort.

Designing Women, Season 6, Episode 19: Odes to AtlantaCarlene writes a song.Watch along with us on Hulu (Not Sponsored)Buy our Merch: www.mimsandmaim.comSupport us on Patreon at www.patreon.com/mimsandmaimThank you to our Patrons:Sharon JDeana FElizabeth JAdam PCrystal AMorgan WCody HJessie PSheri SEmail Us: mimsandmaim@gmail.comCall Us: 7043800618Support us Via PayPal: https://www.paypal.com/donate?hosted_button_id=VNMM8UTK485XQSpecial thanks to Miss B for her sponsorship of our podcast. You can find her on TikTok @GeektombFind the queens on Twitter:Auntie Maim: @auntiemaimsThe Divine Miss Mims: @divinemissmimsThank you to MrMahaffey for our lovely artwork.Follow him on Instagram: www.instagram.com/MrMahaffeyEtsy Store: www.etsy.com/shop/MrMahaffeyOur Theme Song is Composed by JDR #1980s #1990s #auntiemaim #Charlene #comedyqueens #designingwomen #dragqueens #Julia #lgbt #Maryjo #podcast #sitcom #Suzanne #thedivinemissmims #Anthony #Bernice #rewatch #classic #lgbtq #hulutv #tv #newepisode

Join Christine Devlin as she unveils the profound Universal Mother Principles – essential guidelines for anyone in a caregiving role, from doulas to parents and beyond. Discover the nine key principles: intention, simplicity, flexibility, compassion, listening, intuition, grounding, non-judgment, and presence, and learn how they can transform your approach to care.Christine also delves into the ancient wisdom of Ayurveda, explaining the concept of duality and the vital Sushumna, Ida, and Pingala energy channels. Understand how these channels influence balance and energy flow within ourselves and those we care for.Learn practical techniques, including Nadi Shodhana (alternate nostril breathing), to harmonize these energy channels and cultivate inner homeostasis. Christine shares personal insights and emphasizes the crucial need for intentional practices to navigate the stresses of caregiving and maintain your own well-being.Are you feeling the call to know more about Conscious Postpartum Care?Reach out! ⁠Schedule a time with Christine⁠ to find out how this work can transform your care business or provide a meaningful career path.Here is the ⁠link⁠ to our free class@‌sacredwindowstudiesJoin our ⁠Facebook Group⁠Podcast Music is Composed by Sara Emmitt, graduate of the Center for Sacred Window Studies. You can hear more of Sara's incredible music at Sara Emmitt .

The Watoto Children's Choir is a group of African children's choirs based in Kampala, Uganda, at Watoto Church, founded in 1994. Composed of 18–22 Ugandan children who have lost one or both parents, often due to AIDS or war, the choirs tour internationally to raise funds and awareness for Watoto orphanages. "Watoto" means "children" in Swahili. Operating six choirs, they perform in Asia, Australia, Europe, and the Americas, delivering "Concerts of Hope" that blend African rhythms, gospel music, dance, and storytelling. Their performances share messages of hope, faith, and transformation, often featuring personal testimonies. I'm joined by 4 of their group Graham, Alvin, Jen and Pheona.Cornerstone Forum ‘25https://www.showpass.com/cornerstone25/Get your voice heard: Text Shaun 587-217-8500Substack:https://open.substack.com/pub/shaunnewmanpodcastSilver Gold Bull Links:Website: https://silvergoldbull.ca/Email: SNP@silvergoldbull.comText Grahame: (587) 441-9100Bow Valley Credit UnionWebsite: www.BowValleycu.comEmail: welcome@BowValleycu.com Use the code “SNP” on all ordersProphet River Links:Website: store.prophetriver.com/Email: SNP@prophetriver.com

Composed by Jun Sugita and Yoko Mizuta Track Listing Title Theme Manhole Fire Octopus Oil Panic Ending   Check out the Discord!!! https://discord.gg/m4e6xmtrft

Welcome back! When last we met Meriwether Lewis, William Clark, and their Corps of Discovery, our heroes had navigated over 2,000 miles. Up and down rivers, across the Continental Divide, and all way to the Northern Pacific Coast. They saw a dead whale, it was nuts. In the conclusion, learn why those who first saw present-day Yellowstone Park thought it was literal hell on earth; hear how Sacegewea's son finds himself in the royal court of Germany; and so much more!Along with Dawn on this historic journey, is comedian Alex Malt, whose first comedy album debuts this summer! Find Alex on Instagram!—-SILF's (Sources I'd Like to F*ck)Book - Lewis & Clark: An American Journey by Daniel B. Thorp.Journals of the Lewis & Clark Expedition - Amazing online educational resource.Project Gutenberg - The Journals of Lewis & Clark---LILF's (Link's I'd Like to F*ck) See Dawn on THE HISTORY CHANNEL - Histories Greatest Mysteries (multiple seasons)See Dawn on THE HISTORY CHANNEL - Crazy Rich AncientsCheck out HILF MERCH now available on Redbubble! Stickers, t-shirts, bags and more!HILF is now on Patreon!Buy Me a CoffeeFind your next favorite podcast on BIG COMEDY NETWORK.---WANNA TALK? Find us on Instagram or email us hilfpodcast@gmail.comTheme song: Composed and performed by Kat PerkinsHILF artwork by Joe Dressel.

Our show takes us back in time to the pleasant summer vibes of Malibu Bikini Volleyball, a no-frill sports game released in 1993 for the underdog Atari Lynx handheld, developed by Hand Made Software and composed by Paul Tonge. Hand Made Software was a boutique first- (or second-) party game developer that produced original games exclusively for the Lynx and Jaguar from about 1990 to 1995, with a handful of previously unreleased games making their way out in the early 2000s. While this game is a pretty self explanatory late-era volleyball game for the Lynx, the music is definitely worth checking out. English composer Paul Tonge is a multi-talented musician, sound designer, sound driver developer, game producer and music director that worked from the late 80s to the early 2000s, starting on the C64 and Amiga and eventually retiring from games around the GBA era. He worked on games such as: Tinhead, The Tick, George Foreman for Real, and Samurai Jack: The Amulet of Time as well as working on a number of sound drivers across multiple console generations. It's a leisurely episode where we finally take the time for a deeper dive on Lynx sound and graphics hardware. We also cover Paul's work with "Sound Images", his joint audio production company with composer Tony Williams, and Paul's eventual work with Software Creations, the British software developer that was a powerhouse of game audio talent in the 90s even if their games were just alright. In any case, sit back and enjoy this early 90s mixtape of beachy volleyball tunes! Composed by: Paul Tonge Tracklist 0:00:00 Malibu Volleyball 0:07:55 Trout Shout 0:16:11 Bikini Beauty 0:22:09 Beach Boy Blues 0:33:36 Spike 0:42:37 On the Shoreline 0:48:29 Banana Volley 0:57:47 Beach Volley 1:04:59 SandOut 1:09:17 SkyBall 1:16:19 Winners

DescriptionHow Beethoven Composed Masterpieces Without Hearing a Sound in 60 Seconds. Take a minute to get the scoop!Fun FactBeethoven composed some of his greatest works after going completely deaf! He couldn't hear a single note but used his deep understanding of music and felt vibrations through the piano. His Ninth Symphony—featuring “Ode to Joy”—was written in total silence, yet it remains one of the most powerful pieces ever created.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Date: April 13th of 2025   Speaker: Rev. Dr. Matthew Richard   Text: Matthew 21:1-9   Context: Palm Sunday Sermon at St. Paul's Lutheran of Minot, ND  

This Day in Legal History: United States v. Carolene Products Co. DecidedOn April 25, 1938, the U.S. Supreme Court issued its decision in United States v. Carolene Products Co., 304 U.S. 144, a seemingly mundane case about a federal law banning the interstate shipment of “filled milk.” But beneath its surface lay one of the most consequential footnotes in American constitutional history. The Court upheld the statute under a rational basis review, affirming Congress's authority to regulate economic activity. However, in Footnote Four of the majority opinion, Justice Harlan Fiske Stone proposed a bold and lasting idea: not all legislation should be treated equally when it comes to judicial review.Stone suggested that while economic regulations would generally be upheld if they had a rational basis, laws that appeared to conflict with specific constitutional prohibitions or aimed at "discrete and insular minorities" might require stricter scrutiny. This footnote planted the seed for what would become the modern system of tiered judicial scrutiny—rational basis, intermediate scrutiny, and strict scrutiny—used to assess the constitutionality of laws under the Equal Protection and Due Process Clauses.Though Footnote Four was not binding, it became one of the most cited and influential passages in constitutional law. It signaled a shift away from the Lochner-era deference to economic liberty and toward more robust judicial protection of civil rights and liberties. The idea that courts have a special role in protecting politically powerless groups fundamentally shaped later decisions in cases involving racial discrimination, free speech, and voting rights.In this way, a case about dairy regulation became a cornerstone of modern constitutional doctrine. Carolene Products illustrates how even minor legal disputes can produce major legal revolutions—one footnote at a time.In a rare display of bipartisan unity, the U.S. government is making significant legal advances against Big Tech, with Meta and Google facing tough antitrust scrutiny in simultaneous court cases. In separate proceedings in a Washington federal courthouse, the FTC is attempting to break up Meta, while the DOJ is pressing Google over illegal monopoly practices, including deals to pre-install its AI on smartphones. These efforts reflect years of legal groundwork laid across both the Trump and Biden administrations, showing that concerns over Big Tech's power and influence transcend party lines—even if the motivations differ. While Democrats emphasize market concentration and data control, Republicans have focused on censorship and political bias. Despite court momentum, legislative action remains stalled, hindered by political polarization and disagreements over broader issues like content moderation and China policy. The bipartisan front could fracture as political dynamics shift, especially with Trump signaling a more cooperative stance toward tech companies–or at least a willingness to extract rents from them.Meta, Google Hammered in Court in Sign of Rare Left-Right Unity - BloombergThe American Bar Association (ABA) laid off over 300 employees after the Trump administration cut $69 million in federal grant funding, according to a new lawsuit filed by the ABA against the Department of Justice. The organization alleges the cuts were politically motivated retaliation for its support of diversity initiatives and criticism of the administration. The terminated grants had funded legal aid programs for domestic violence victims and immigrants, as well as global rule of law initiatives. The layoffs affected about a third of the ABA's staff, including workers in its South Texas ProBar program and international legal development projects. The DOJ ended the grants shortly after barring its attorneys from participating in ABA events. The ABA is being represented by Democracy Forward in the suit, which also names Attorney General Pam Bondi and Deputy Attorney General Todd Blanche as defendants.ABA Lays Off 300 Employees, Blaming Trump Grant Funding Cuts (1)Richard Lawson, the lawyer defending President Trump's executive orders targeting law firms, has faced repeated courtroom defeats while offering vague, evasive answers under judicial questioning. In four separate cases, courts have temporarily blocked Trump's orders, which aimed to punish firms like Perkins Coie and WilmerHale for their roles in legal actions against him by revoking security clearances and threatening government contracts. Judges have openly criticized the orders as retaliatory and politically motivated. Despite this, Lawson has often appeared alone in court, prompting speculation that even the Justice Department is reluctant to back the arguments he's tasked with presenting. His vague responses and visible discomfort have drawn scrutiny, especially given his political ties to Attorney General Pam Bondi and his role at the pro-Trump America First Policy Institute. While some law firms have settled by agreeing to large pro bono commitments, others are pushing forward in court, where permanent injunctions against the executive orders now seem likely.Trump Attorney for Big Law Attacks Says Little as Losses Rack UpIn a piece for Forbes earlier this week, I argue that the state and local tax (SALT) deduction is fundamentally flawed and difficult to defend. Though often framed as a benefit to the middle class or a protection against double taxation, the deduction overwhelmingly favors wealthy households and creates inequities in the federal tax system. It allows states to impose high taxes without facing full political accountability, effectively outsourcing part of the cost to the federal government. The 2017 cap of $10,000 was a step in the right direction, and data shows that repealing it would benefit primarily the top 20% of earners—not typical working families. Unlike other personal expenses like rent or groceries, which aren't deductible, SALT gets special treatment without clear justification. If we care about fairness, progressivity, and honest budgeting, it's time to seriously consider scrapping the deduction altogether.Reconsidering The SALT Deduction: Is It Defensible?This week's closing theme is the final section of Finlandia, Op. 26, by the Finnish composer Jean Sibelius, performed here in its piano version. Composed in 1899 during a time of intense political censorship and rising nationalist sentiment, Finlandia was Sibelius's defiant musical response to Russian oppression. The tone poem was originally part of a series of historical tableaux performed as a protest against censorship, with Finlandia serving as the rousing finale.While the early passages of Finlandia are turbulent and stormy—meant to evoke struggle—the final section is a striking contrast: serene, solemn, and deeply moving. This lyrical closing, often referred to as the Finlandia Hymn, became an unofficial anthem of Finnish resistance and later a national symbol of unity and perseverance. In this week's selection, we hear a solo piano arrangement that strips the music to its essence, allowing the melody's dignity and quiet strength to shine through.Sibelius once said, “Music begins where the possibilities of language end,” and in Finlandia's final moments, words do indeed fall away. What remains is a profound expression of hope and resilience—qualities that have made this music resonate far beyond Finland's borders. Though Sibelius composed in the late Romantic tradition, his voice is unmistakably his own: direct, elemental, and rooted in the landscape and soul of his homeland.As we close out the week, let Finlandia remind us that even in times of turbulence, grace and resolve can still find their voice. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Join Christine Devlin Eck as she explores the timeless wisdom of Ayurveda and its practical application in modern life, particularly postpartum care. Discover the 5,000-year-old Indian medical science focused on individual balance and preventive health. Christine breaks down five key steps to integrate Ayurvedic principles: noticing your body, understanding the five elements and three doshas, identifying your body type, recognizing qualities (Gunas), and experimenting to find equilibrium. She emphasizes the significance of traditional postpartum care centered on maternal healing and encourages listeners to embrace Ayurveda for a healthier, more empowered existence.Are you feeling the call to know more about Conscious Postpartum Care?Reach out! ⁠Schedule a time with Christine⁠ to find out how this work can transform your care business or provide a meaningful career path.Here is the ⁠link⁠ to our free class@‌sacredwindowstudiesJoin our ⁠Facebook Group⁠Podcast Music is Composed by Sara Emmitt, graduate of the Center for Sacred Window Studies. You can hear more of Sara's incredible music at Sara Emmitt .

This Day in Legal History: Plaut v. Spendthrift Farm, Inc.On April 18, 1995, the U.S. Supreme Court delivered its opinion in Plaut v. Spendthrift Farm, Inc., a significant decision reinforcing the constitutional principle of separation of powers. The case arose after Congress enacted legislation requiring federal courts to reopen certain final judgments in securities fraud cases that had been dismissed under an earlier statute of limitations ruling. The plaintiffs, whose claims had already been dismissed with finality, sought to revive their lawsuits under this new provision.In a 7–2 decision, the Court struck down the law, holding that Congress cannot force Article III courts to reopen final judgments. Writing for the majority, Justice Antonin Scalia stressed the importance of finality in judicial decisions and warned against legislative interference with core judicial functions. He argued that once a case is decided, it becomes law of the case and should not be revisited at Congress's whim.The ruling underscored the judiciary's independence from political pressure and reaffirmed that each branch of government must respect the constitutional boundaries of the others. Scalia noted that permitting Congress to override final court decisions would blur the lines between legislative and judicial authority, threatening the rule of law.This decision was not just a technical interpretation of procedural law; it was a firm statement about institutional integrity. Plaut became a cornerstone case for understanding the limits of congressional power over the courts. It continues to be cited in debates over judicial independence and the sanctity of final judgments.A federal appeals court rejected an emergency attempt by the Trump administration to block a judge's order requiring the government to aid in the return of Kilmar Abrego Garcia, a Maryland man deported to El Salvador despite a 2019 court ruling barring his removal. The court condemned the Justice Department's actions, with Judge Harvie Wilkinson calling them a violation of fundamental liberties and due process. He criticized the administration for acting as though it could abandon individuals in foreign prisons without legal recourse.The Supreme Court previously upheld a similar directive from District Judge Paula Xinis, requiring the administration to work toward bringing Abrego Garcia back from Salvadoran custody. The government claims Garcia is affiliated with the MS-13 gang and lacks the right to remain in the U.S., arguing that Xinis overstepped by involving herself in foreign affairs. However, Wilkinson stressed that due process rights apply regardless of alleged affiliations and warned that ignoring court orders could lead to broader abuses of power, including the potential deportation of U.S. citizens.Abrego Garcia, who has no criminal record in either country, was deported alongside 250 alleged gang members to El Salvador's high-security prison. His 2019 immigration court ruling protected him from deportation due to threats of gang-based extortion.Trump Loses Emergency Appeal to Halt Maryland Deportation CaseThe U.S. Supreme Court will hear arguments on May 15 regarding President Donald Trump's attempt to limit birthright citizenship, a constitutional principle rooted in the 14th Amendment. Although the case won't directly determine the legality of Trump's executive order, it will address whether lower court rulings that blocked the policy nationwide should be scaled back to apply only to specific plaintiffs or jurisdictions.Trump's order, signed in January, seeks to deny citizenship to babies born in the U.S. unless at least one parent is a citizen or permanent resident. It directs federal agencies to withhold documents like Social Security cards and passports from newborns who don't meet that criterion. Critics argue this violates well-established legal interpretations of the 14th Amendment, which affirms citizenship for nearly everyone born on U.S. soil.The Justice Department argues that nationwide injunctions—orders that block policies across the country—exceed judicial authority and should be narrowed. The administration also questions whether the states and groups suing have legal standing. Despite these claims, lower courts have uniformly refused to allow the executive order to take effect.Opponents, including 22 Democratic-led states and immigration advocacy groups, argue that Trump's effort seeks to strip citizenship from thousands of children and overturn long-standing legal precedent. Trump maintains that birthright citizenship was originally intended only for formerly enslaved people, not for the children of non-citizens.US Birthright Citizenship: Supreme Court to Hear Arguments in Case - BloombergUS Supreme Court to hear Trump bid to enforce birthright citizenship order | ReutersFifth Circuit Judge James Ho sharply criticized the power of trial-level judges in a recent opinion, focusing on what he sees as overreach in politically sensitive cases. Ho issued a writ of mandamus instructing a district judge in Louisiana to vacate her order reopening a death penalty case years after it had been dismissed. He was joined by fellow Trump appointee Judge Andrew Oldham, while Judge Catharina Haynes dissented, arguing the appellate process should proceed normally.In his concurring opinion, Ho warned against what he called the misuse of judicial power to obstruct democratic outcomes. He connected the Louisiana case to a recent U.S. Supreme Court decision that reversed a nationwide order from Chief Judge James Boasberg in Washington, D.C., which had blocked the deportation of alleged Venezuelan gang members under the Alien Enemies Act. The Supreme Court said the Venezuelan plaintiffs should have filed their suit in Texas, where they were detained, effectively transferring jurisdiction and narrowing Boasberg's reach.Ho used that ruling to reinforce his argument that appellate courts must intervene swiftly when district judges exceed their authority. He accused some judges of rushing to block policies they oppose politically, calling it a threat to the electorate's choices and governmental efficiency. He argued that deferring to the standard appeals timeline enables what he called “district judge supremacy.”Judge Haynes pushed back in dissent, criticizing the majority's allegation that the district court manipulated legal processes, especially since neither party in the case had challenged the judge's integrity. She maintained the threshold for a mandamus was not met and objected to the majority's tone and assumptions.James Ho Knocks Trial Judge Who Blocked Venezuelan DeportationsThis week's closing theme is The Moldau by Bedřich Smetana, a defining work in Czech Romantic nationalism and one of the most evocative tone poems in classical music. Smetana, born in 1824 in what is now the Czech Republic, was a pioneering composer who sought to express the identity, history, and natural beauty of his homeland through music. A contemporary of Liszt and Wagner, he was deeply influenced by the idea of programmatic music—compositions that tell a story or paint a picture without the use of words.The Moldau (or Vltava, in Czech) is the second and most famous piece from Smetana's larger symphonic cycle Má vlast(My Homeland), composed between 1874 and 1879. The piece traces the course of the Vltava River from its source in the Bohemian forest, through the countryside, past villages and castles, and ultimately to its merger with the Elbe River. Through rich orchestration and shifting textures, Smetana portrays everything from bubbling springs and flowing currents to a peasant wedding and moonlit night dances by water nymphs.Composed while Smetana was going completely deaf, The Moldau is as much a feat of imagination as it is of musical skill. The main theme, introduced by the flutes and then carried through the orchestra, is one of the most recognizable and emotionally stirring in classical music. It serves not just as a musical depiction of a river but as a symbol of Czech identity, resilience, and natural beauty.Closing with The Moldau offers a moment to reflect on continuity, movement, and national spirit—fitting themes for a week shaped by legal currents and constitutional debate.Without further ado, The Moldau, by Bedřich Smetana – enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Lewis & Clark were more than just two white guys in buckskins! Join Dawn and the “Corps of Discovery” as they venture into the wildest of the wild West. Meet Sacegawea, fight a grizzly, and find out what it takes to cross the Rocky Mountains in 1805. Along with Dawn on this historic journey, is comedian Alex Malt, whose first comedy album debuts this summer!—-SILF's (Sources I'd Like to F*ck)Book - Lewis & Clark: An American Journey by Daniel B. Thorp.Journals of the Lewis & Clark Expedition - Amazing online educational resource.Project Gutenberg - The Journals of Lewis & Clark ---LILF's (Link's I'd Like to F*ck) See Dawn on THE HISTORY CHANNEL - Histories Greatest Mysteries (multiple seasons) See Dawn on THE HISTORY CHANNEL - Crazy Rich AncientsCheck out HILF MERCH now available on Redbubble! Stickers, t-shirts, bags and more!HILF is now on Patreon!Buy Me a CoffeeFind your next favorite podcast on BIG COMEDY NETWORK. ---WANNA TALK? Find us on Instagram or email us hilfpodcast@gmail.comTheme song: Composed and performed by Kat PerkinsHILF artwork by Joe Dressel.

By William Wordsworth

Will Exposition Boy expose the backstory of Billy Narrator, boy detective? Can Falk prevent them from destroying the whole episode and the sanity of his listeners? Listen to find out!Clash of the Story Boys, episode 127 of This Gun in My Hand, was narrated and exposed by Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Sisyphus, Eat Your Heart Out, available in paperback and ebook from Amazon. How do I settle creative differences? With This Gun in My Hand!Show Notes:1. Thanks to Pete Larsen for the idea for this episode: “I'd love to see a fight between 'Exposition Boy, the Teen-Sidekick' and 'Billy Narrator Jr.'”2. If you're going to take six years to develop an international exposition and build an artificial island for it, maybe open it in an off-year when there isn't an official world's fair on the other coast. The Golden Gate International Exposition opened in 1939, competing with the 1939 New York World's Fair. (Spoilers: they did run out of money and closed early in October 1939, then scrounged up a little more to reopen May-September 1940.) https://en.wikipedia.org/wiki/Golden_Gate_International_Exposition3. Billy commandeered the show in episode 113, “Don't Kid a Kidder,” to do his own show, Billy Narrator, Boy Detective.https://archive.org/details/tgimh-113-dont-kid-a-kidder4. The Pope's Rhinoceros by Lawrence Norfolk establishes a deeper backstory than any other novel I've read. The first four pages describe glacial and geologic activity that form the lake where protagonists finally come into the story on the fifth page. Literally a glacial age of backstory.Credits:The opening music clip was from The Sun Sets at Dawn (1950), and the closing music was from Killer Bait (1949), both films in the public domain. Exposition Boy's storytelling music was from “Journey Into Fear,” the June 9, 1946 episode of the public domain radio show Hour of Mystery. Music from the second commercial was from the public domain film Death Machines (1976). Most of the music and sound effects used in the episode are modified or incomplete versions of the originals. Sound Effect Title: Traffic mel 1.wavBy malupeeters License: Creative Commons Attribution 4.0https://freesound.org/people/malupeeters/sounds/191350/Sound Effect Title: Park ambience - mostly birdsLicense: Public Domainhttps://freesound.org/people/Mafon2/sounds/274175/#Music Title: Kitten on the KeysComposed and Performed by Zez Confrey and His OrchestraRecorded May 4, 1922License: Public Domainhttps://freemusicarchive.org/music/Antique_Phonograph_Music_Program_Various_Artists/Antique_Phonograph_Music_Program_05052009/Kitten_on_the_Keys/The image accompanying this episode is a modified detail of one panel from the April 28, 1929 public domain comic strip Just Kids by Ad Carter. The title of the comic strip changed to Mush Stebbins and His Sister in 1950.

Designing Women, Season 6, Episode 18: A Scene from a MallAnthony get harrased.Watch along with us on Hulu (Not Sponsored)Buy our Merch: www.mimsandmaim.comSupport us on Patreon at www.patreon.com/mimsandmaimThank you to our Patrons:Sharon JDeana FElizabeth JAdam PCrystal AMorgan WCody HJessie PSheri SEmail Us: mimsandmaim@gmail.comCall Us: 7043800618Support us Via PayPal: https://www.paypal.com/donate?hosted_button_id=VNMM8UTK485XQSpecial thanks to Miss B for her sponsorship of our podcast. You can find her on TikTok @GeektombFind the queens on Twitter:Auntie Maim: @auntiemaimsThe Divine Miss Mims: @divinemissmimsThank you to MrMahaffey for our lovely artwork.Follow him on Instagram: www.instagram.com/MrMahaffeyEtsy Store: www.etsy.com/shop/MrMahaffeyOur Theme Song is Composed by JDR #1980s #1990s #auntiemaim #Charlene #comedyqueens #designingwomen #dragqueens #Julia #lgbt #Maryjo #podcast #sitcom #Suzanne #thedivinemissmims #Anthony #Bernice #rewatch #classic #lgbtq #hulutv #tv #newepisode

Cyndi Lauper is a multi-award winning singer and songwriter. She has sold more than fifty million records, won an Emmy for acting and her musical Kinky Boots earned her a Tony and an Oliver award. Born in 1953, Cyndi grew up in a blue collar neighbourhood in New York. Her mother loved music and art and took her children to free exhibitions in New York which inspired Cyndi. As a very young girl, Cyndi listened to her mother's extensive record collection and mimicked the voices she heard from musicals and operas.After a difficult family home life due to her mother's turbulent marriages, Cyndi found solace in music and began writing songs when she was ten. She left home at seventeen determined to make it in the music industry. She started out as a singer in bands, whilst supporting herself doing a series of jobs. Early in her career, she lost her voice for almost a year after trying to make herself heard over amps which were too loud. Success eventually came when she released her debut solo album She's So Unusual in 1983 – the first album by a female artist to spawn four consecutive US Top 5 singles.Cyndi lives in New York with her husband, David who is an actor. They met on a set of a film and rock legend Little Richard officiated their wedding.DISC ONE: Prelude to the Afternoon of a Faun. Composed by Claude Debussy and performed by The Orchestre National de Lyon DISC TWO: All That Meat and No Potatoes - Louis Armstrong And His All-Stars DISC THREE: Puccini, “Un bel di, vedremo” (“One fine day, we shall see”) from Act II of Madame Butterfly. Performed by Maria Callas with Orchestra del Teatro alla Scala di Milano, conducted by Herbert von Karajan DISC FOUR: Getting to Know You - Marni Nixon DISC FIVE: I Want Hold Your Hand - The Beatles DISC SIX: A Sailboat in the Moonlight - Billie Holiday And Her Orchestra DISC SEVEN: One Way or Another - Blondie DISC EIGHT: Hound Dog - Big Mama ThorntonBOOK CHOICE: Me Talk Pretty One Day by David Sedaris LUXURY ITEM: A luxury hotel CASTAWAY'S FAVOURITE: Puccini, “Un bel di, vedremo” (“One fine day, we shall see”) from Act II of Madame Butterfly. Performed by Maria Callas with Orchestra del Teatro alla Scala di Milano, conducted by Herbert von KarajanPresenter: Lauren Laverne Producer: Sarah Taylor

durée : 00:57:37 - "My Old Flame" (Arthur Johnston / Sam Coslow) (1934) - par : Laurent Valero - "Chanson écrite pour le film de Leo McCarey "Belle of the Nineties". Le personnage principal, est une chanteuse incarnée par Mae West. Chanson écrite pour elle par le parolier Sam Conslow et c'est elle qui imposa Duke Ellington pour l'accompagner à l'image dans le rôle du pianiste." Laurent Valero

This Day in Legal History:  MLK AssassinatedOn April 4, 1968, civil rights leader Dr. Martin Luther King Jr. was assassinated while standing on the balcony of the Lorraine Motel in Memphis, Tennessee. King had traveled to Memphis to support striking sanitation workers, emphasizing his ongoing commitment to economic justice alongside racial equality. His death sent shockwaves through the United States, triggering riots in more than 100 cities and accelerating the passage of key civil rights legislation.King was a central figure in the American civil rights movement, having led campaigns against segregation, voter suppression, and economic inequality. His advocacy relied heavily on nonviolent protest and legal strategies that tested the limits of constitutional protections and federal civil rights enforcement. The assassination drew intense public scrutiny to the federal government's role in protecting civil rights activists.James Earl Ray, an escaped convict, was arrested and charged with King's murder. He pleaded guilty in 1969, avoiding a trial, but later recanted and sought to withdraw the plea. Controversy surrounding the investigation and conviction has persisted for decades, with some—including members of King's own family—questioning whether Ray acted alone or was part of a larger conspiracy.King's assassination directly influenced the U.S. Congress to pass the Civil Rights Act of 1968, also known as the Fair Housing Act, which prohibited housing discrimination based on race, religion, or national origin. The legislation had faced significant resistance before King's death but was passed just days afterward. His assassination also galvanized greater federal attention to civil rights enforcement under the Equal Protection Clause of the Fourteenth Amendment.A group of 12 Republican-led states, including Texas, Florida, and Missouri, has asked 20 major U.S. law firms to provide documentation on their diversity, equity, and inclusion (DEI) initiatives. The request, led by Texas Attorney General Ken Paxton, seeks to determine whether the firms' practices comply with federal and state anti-discrimination laws. In a letter sent Thursday, the states referenced recent concerns raised by the U.S. Equal Employment Opportunity Commission (EEOC), which had previously asked the same firms for similar information.Paxton cited potential violations of Title VII of the Civil Rights Act, alleging that some law firms may use hiring policies that prioritize race, sex, or other protected characteristics. He also pointed to possible state-level violations, including those related to deceptive trade practices. The letter specifically called out programs such as diversity fellowships and hiring goals aimed at increasing representation from historically marginalized groups.The states argue they have authority to investigate and enforce laws that prohibit employment discrimination, including policies that may inadvertently or intentionally favor individuals based on race or other traits. Firms named include top legal players like Kirkland & Ellis, Ropes & Gray, and Skadden, Arps.GOP-Led States Want 20 Law Firms to Disclose Their DEI PracticesRepublicans are considering a significant shift in tax policy by potentially introducing a new top tax bracket for individuals earning $1 million or more annually. The proposed rate, currently under discussion, would range from 39% to 40%, marking a departure from the party's longstanding resistance to tax increases. This idea is part of a broader effort to offset the cost of a multi-trillion dollar tax package being developed by Trump administration allies and Republican lawmakers.Also on the table is a return to the 39.6% top income tax rate previously enacted during the Obama administration, replacing the current 37% rate for high earners. The GOP aims to pass the new tax legislation within months, renewing provisions from the 2017 Tax Cuts and Jobs Act while incorporating new deductions and reforms to appeal to middle- and working-class voters.Treasury Secretary Scott Bessent has emphasized the urgency of making Trump's earlier tax cuts permanent and stabilizing markets following recent tariff announcements. The evolving plan reflects a broader ideological shift within the Republican Party toward more populist economic messaging.To help pay for the new tax measures, the proposal also includes eliminating the carried interest loophole used by hedge fund and private equity managers and expanding deductions such as those for car loan interest and tipped wages. Trump's campaign promises — including removing taxes on overtime pay and Social Security benefits — are being considered for inclusion as well.Republicans Debate Hiking Top Tax Rate to 40% For Millionaires - BloombergOver 300 law professors from top institutions, along with legal advocacy groups across the political spectrum, have filed court briefs supporting Perkins Coie in its lawsuit against an executive order issued by Trump. The order, signed on March 6, penalizes the law firm for its work with Hillary Clinton and its internal diversity policies by restricting its access to federal buildings, officials, and contracts. Professors from Yale, Harvard, and Stanford argued the order is unconstitutional and undermines the independence of the legal profession.Their brief warned that targeting a firm for political reasons threatens any lawyer or firm that chooses to oppose the president in court, calling the order a dangerous precedent. Advocacy groups such as the ACLU and the Cato Institute echoed that concern, labeling Trump's action an attack on the legal system and a threat to Americans' right to legal representation.The White House responded by defending the order as a lawful measure to align federal partnerships with the administration's policies, criticizing the lawsuit as an attempt to preserve "government perks." Meanwhile, the Justice Department has requested that a Washington federal judge dismiss the lawsuit. Other firms named in similar orders — Jenner & Block and WilmerHale — have also filed suits, while some, like Skadden Arps and Paul Weiss, have made agreements with the White House to avoid sanctions.Law professors, legal groups back Perkins Coie in lawsuit over Trump order | ReutersThis week's closing music comes from one of the most innovative and influential composers of the 20th century: Igor Stravinsky. Known for revolutionary works like The Rite of Spring and The Firebird, Stravinsky continually reinvented his style throughout his long career. Born in 1882 near St. Petersburg, Russia, and passing away on April 6, 1971, in New York City, Stravinsky's life spanned continents, world wars, and artistic upheavals. While he is best remembered for his large-scale ballets and orchestral works, he also composed for smaller forms, including a fascinating piece titled simply Tango.Composed in 1940, Tango marks Stravinsky's first original composition written entirely in the United States after his move from Europe. At the time, he was living in Hollywood and adapting to a new cultural and musical environment. The piece is short, dark, and rhythmically sharp—more brooding than danceable—and carries the flavor of the tango tradition filtered through Stravinsky's idiosyncratic, angular style. It was originally written for piano, though Stravinsky later orchestrated it.Tango reflects Stravinsky's interest in blending traditional forms with modernist dissonance and unpredictability. It's a brief but compelling listen that offers a very different side of a composer often associated with thunderous orchestras and ballet scandals. Its rhythmic complexity and stark character echo the uncertainties of the time it was written, just as World War II was escalating. The piece serves as a reminder that even in exile, Stravinsky continued to experiment, innovate, and absorb new influences. As we remember his death on April 6, Tango is a fitting close—wry, lean, and unmistakably Stravinsky.Without further ado, Igor Stravinsky's Tango — enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere at the Magic Theatre. She speaks with Ethnotech's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the Aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.”     Our Guests discussed: April 2-20, 2025 Magic Theatre The Boiling, a tale of american nihilism tickets, wheelchair accessible Joan Osato SFFILM Cedar Road Iyagi Grant Applications:  sffilm.org/artist-development Ethnohtec May 22 Ethnohtec https://sfpl.org/events/2025/05/22/panel-strong-bamboo-3-part-1 Strong Like Bamboo SF Library Koret Auditorium Free https://sfpl.org/events/2025/05/25/performance-strong-bamboo-3-part-2   Coming Up Next 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.   Ayame Keane-Lee: [00:00:34] Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere of the boiling at the Magic Theatre. She speaks with Eth-Noh-Tec's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.” So join us on APEX Express as we join some creative conversations.   Miko Lee: [00:01:17] Tonight on Apex Express, we have the collaborators behind Magic Theater and Campo Santo's, world Premier of the boiling: a tale of American nihilism. Welcome playwright Sunhui Chang and video artist Joan Osato.    Joan Osato: [00:01:30] Thank you for having us on, Miko.    Miko Lee: [00:01:33] Yes. First I'm gonna start for each of you with a personal question, which is an adaptation from the amazing Chinaka Hodges. And my question for each of you, and let's start with Joan first, is who are your people and what legacy do you carry with you?    Joan Osato: [00:01:49] I consider myself a child of immigrants in this country. My lineage Japanese, Japanese American by way of Hawai'i a lot of my lineage is carried by that diaspora, but also by my history at Youth Speaks for a couple of decades. And so I consider that my family also and Camp Santo.    Miko Lee: [00:02:12] Yay. Love that. And then Joan, what legacy do you carry with you?   Joan Osato: [00:02:17] A legacy of resilience and I know how to farm. I like to think of myself as a gardener and a great farmer. so that's the legacy I carry with me.    Miko Lee: [00:02:29] Thank you so much, Joan. Sunhui, what about you? Who are your people and what legacy do you carry with you?    Sunhui Chang: [00:02:36] Well, I'm part of the diaspora, the Korean American diaspora that happened in the seventies. My family immigrated to the island of Guam in 1976, as part of developing the island of Guam. As, you know, the Korean diaspora at that time in the seventies, we were kind of shipped around the world a little bit, for our labor. There's a huge Korean population of workers that also went to West Germany and other places, Guam is not as well known, but it was definitely part of that. So in 76, our family landed on the island of Guam.    Miko Lee: [00:03:11] Wow, that's so interesting. And then what about what legacy you carry with you?    Sunhui Chang: [00:03:16] I think my legacy I have to say is that definitely of the immigrant working class, you know, as with a Korean diaspora, there's some things of, like the East Coast Koreans, as you may know, have a different history of being much more educated whereas kind of the west coast and the Korean diaspora during the seventies towards islands like Guam, we were much more working class. So that is my legacy. I have working class roots that, I never seem to be able to get away from and I don't want to.   Joan Osato: [00:03:47] Shoot. That's the same for me too, my working class roots.   Miko Lee: [00:03:51] So it sounds like you two have some commonalities there and that seem to have flowed over into the creation of this play. Sunhui can you talk about an overview of this brand New World premier, the boiling.    Sunhui Chang: [00:04:05] Simply put, it's a story of a tracker and a tracer, a government team that was formed to track and trace down carriers of the virus called the Boiling. and it actually. starts out as a chase, but what we really dig into is more about, identity, home, what it means to be, what is home and what it means to be, at home, and also, about redemption, you know, through our lives, you know? So it's multi-layered, so it's hard to kind of explain in a log line. but it's a chase story that kind of delves into the characters.    Miko Lee: [00:04:40] And I understand this was inspired by a real news story. Can you tell us about that real news story?    Sunhui Chang: [00:04:46] Oh, yeah. the genesis of this we have to kind of go back to the beginning of the pandemic back to December, 2019. I had just finished a gallery installation in San Francisco and then at the end of that I flew back to Seattle. Now at that period of time, there was this talk that there's this virus that's in China. That might affect us, we're not quite certain, but it could be something that could lead to a global pandemic, but we didn't quite know at that time. But then when I landed in Seattle, March 17th, 2020 was the date that Governor j Insley shut down the state of Washington. So that is a big take 'cause, As you know, we all hunkered down at that point. And then in one of the hunkering down is of course, I was watching the news and one of the news story, happened to come across where they were talking about a Econo Lodge motel that the state of Washington had purchased to turn into a quarantine motel, a voluntary quarantine motel where people who, felt that they were infected could check themselves in, to be evaluated. So the story goes that two people had actually checked into this motel totally voluntarily, but one of them the morning after. And this is captured, with a surveillance video. We actually see this one person walking out of their room at the motel. We see them walk across the street to a gas station with a market. Now the surveillance actually then switches over to the gas station surveillance, which shows him walking to the gas mart, walking inside, making a purchase, and then actually walking out. And then we see another footage of the surveillance that's going from the outside surveillance of the store. We actually see him, walk towards the bus stop, get on a bus. And then just the bus leaves and that is it. And the news story ends with that. They had no idea where this person drifted off to. and for me it just, it had this weird, eerie fascination that just grabbed me. and remember at that time, Seattle was such a hotbed for Covid. It was where the nursing home happened, where so many of the elderly had passed on, and we didn't even wanna secondhand touch a surface, so there was a real heightened sense of alarm that was happening. So seeing this story of this potential infected person just drifting off. And then what made it eerie was that I wanted to see what followed up. So for days after I kept watching the news, what is the follow up? What happened? It was never brought on again. Never. Another mention I. and for me that actually made it even more eerie. So it really sat with me, to the point where I had to actually just write down the first words of my, the first line of my story, the boiling. And the first line was, “Carrier X stepped out of the tightness of his room and breathed deeply the soft drizzle of the Pacific Northwest to cool his body from the growing fever.” So those were the first words that I wrote. and then it was just kind of off to the races 'cause the way I write Miko is that I'm very much organic. I kind of set a story and then I become a vessel of the story. I don't come to the story with agendas or anything of that nature. After the first sentence, it just kind of took a life of its own. So that's it.    Miko Lee: [00:08:18] That is amazing. I did not hear that story. and the real news story. That is wild. That would've sat with me too. Joan, had you heard of that story before being brought onto this project?    Joan Osato: [00:08:29] Well, when we did a reading during the pandemic. I did hear parts of that story, but I think it's also a story that a lot of us can relate to, because like here in the Bay Area, of course, we also experienced severe lockdown. Whereas in other parts of the country, I think that the type of lockdown, although being, you know, trying to be really safe for people also induces this sense of isolation and paranoia. And so wanting to get information about who's getting affected and like, where's it happening? I think that was all like kind of a mini obsession of like. Everyone who experienced the pandemic, you know what I mean?    Miko Lee: [00:09:10] How do you think that pandemic has had an impact on theater and on audiences?    Joan Osato: [00:09:16] Well on the most basic levels, you know, like what theaters are grappling with, just in terms of coming out of and recovering from pandemic, I think everybody understands that, you know, theater in general is struggling because of the changes that happened in terms of, Perhaps what people place importance on the isolation that we went through, the kind of, paranoia about being in groups of people and in space and in community together. And so, that affects, you know, theaters and you can, you can see that since the pandemic some have closed. But I also think that, the effects are also that, groups like The Magic or Campo Santo during the Pandemic, we never stopped working and we just figured out innovative ways to, you know, support artists, do radio plays, do, amalgamations of like filming. And so a lot of us became like very, very adept at different types of media that are theatrically based, like Sunhui's play, but that we had to carry out, like online or, you know, through other types of media.    Sunhui Chang: [00:10:30] I just wanted to add on that is that, the pandemic, you know, there there was definitely things that really affected us as humans in such a negative way, but what I also found admiring was, with Joan and Camp Santo and the artists and trying to find creative ways of, still letting, having an outlet. it really was that the story of the boiling would not have taken place if artists such as Joan and Camp Santo. If they didn't, if they weren't able to pivot and make these kind of online transitions at the moment, such as doing readings and such, cause that's how the story was first brought about. So, in many ways it was hard. But also I do appreciate these artists who have been able to kind of keep going and didn't shut down and kept letting the creative creativity somehow flow. I so appreciated that.    Joan Osato: [00:11:20] Yeah, it was definitely a beautiful thing. And then, you know, Miko, throughout the pandemic, you know, we would have like online viewings of our archives or we would sit with audience members, who were joining us and basically hang out for like three, four hours online. So trying to create the space not only to kind of generate support for artists who are. Completely outta work, but also to, just connect us even though we were. You know, obviously under these conditions where we couldn't see each other in person and it wouldn't have been advisable for us to even try to gather, you know, because, I consider us, you know, in-inside of our community extremely vulnerable. So, you know, just grappling with that tension, was really hard.    Miko Lee: [00:12:09] Yeah. And I kind of hear both of you saying that in those really tough times, there was this push to get more creative, to find more ways of reaching people and, and to look at ways that we can, um, innovate given that, and I'm wondering, given our current political climate where things are changing every hour now. I mean, the first Trump administration, it was kind of every week and now it feels like every hour a new kind of devastating thing is happening. I'm wondering how you both think theater can be used as a tool for social change.    Sunhui Chang: [00:12:41] For me Theater and, and really the arts, what I do love about it, is this really, and I kind of touch upon it with the story and such, and it really hit me during, COVID, during the pandemic, is that it's really for me, what it does is listening.  I know as artists, we love telling our story. We love telling what we see, our interpretations and things like that. but I think what I have really come about with the arts is the fact that I like the other side of it is the listening part, for me with my collaborators, that I have to listen. You know, it's not about just me talking, but just listening. So for me, the theater aspect of it and the art aspect of it is that I hope that, as we go through these tough times, what it really has us doing is listening to each other more. One of the things that I really feel in that way and appreciative of listening is the fact that without listeners, there's no storytelling. Listening is really the foundation of our humanity. You know, I mean, just talking really gets us nowhere. What really makes us move forward collectively is listening.   Joan Osato: [00:13:50] Mm, Sunhui heard that. Yes, I heard that. [laughs] As far as theater and kind of responding to the moment. I think, you know, the type of theater that we embody is always speaking to politics is always speaking to, you know, the culture of the moment and especially it's speaking, because a lot of Campo and the Magic's work is like based inside of, theater companies that live, work, breathe, are about by and for the communities, like in the Bay Area right. So there's just no way of separating the kind of politics from what happens like inside of these plays. For the boiling in particular though, I think there's a lot of stuff that, that people can think about and here inside the play that will resonate with them. One, we're, we're talking about a hypothetical, but it's not really a hypothetical situation about a pandemic, a very, harmful, very urgent, current conditions. You know, when there's no CDC to have, get your information from when there's no public health that's functioning in this country, we can, we can see what happened during the last pandemic and just make that comparison and draw those comparisons, you know, what would happen in the next one. Right. also that, you know, to me and Sunhui, you can totally. speak to this, but to me, Carrier X, the person that represents is this kind of violence and nihilism that exists inside of the, you know, the current, you know, psyche or administration right at this moment. this real like. It's definitely violent to the point of not caring whether people live or die and so I, you know, I think that's very striking about the play and it happening right now as premiering it right now, because I think people can draw a lot of parallels between. Like this personality, this complete disorder that seems to be going on, like not only in American politic, but amongst the large population in America itself. You know what I mean? That kind of disregard.    Miko Lee: [00:16:18] Joan, that is so interesting. I wonder if you both can talk a little bit more about Patient X as this kind of figure of narcissism and selfishness that we're seeing that's happening in our broader politics right now.   Sunhui Chang: [00:16:31] Yeah, Carrier X, he does, you know, he does kind of represent this nihilism of American nihilism, which to me it's really historical and cultural. we could go all the way back to the nihilism of manifest destiny, feeling like we have something to do that it was even, maybe. God's order, you know, a higher order that was given to us. And we have to take on this task and finish the task at no matter what cost, right? By any means necessary in a way. and that nihilism for me, I. historical, but when I see it currently that happens now, is that I see nihilism in the fact that people want to cut off Medicaid, Medicare, these social programs that are not just help people actually are crucial and it's really, it's a survival. So for me, when I see that kind of disregard, yes, it's not this overt violent nihilism, but I do find it to be so nihilistic in the damage that it does to all of us, you know? And I do find That this nihilistic violence, there's two flip side to it. The people who are directly affected, and harmed by it, but also the people who carry it are out, who carry out these acts of nihilism they do get damaged as well. So for me, so yeah, the nihilism, it's taken on a different life, but. It's a part of America and it seems to continuously carry forward through our days.    Miko Lee: [00:18:00] And Sunhui with the intentional characters, the lead being Korean American adoptee, and, the detective being a black woman, and then carrier X being white. Share with me a little bit about the racial element and your intention behind making those characters of those, ethnic backgrounds.    Sunhui Chang: [00:18:20] You know, there was no intention, as I said, I just write very organically. So there was never this thought of, oh, here's the three characters. One's gonna be a Korean adoptee, one's gonna be a black homicide detective, and another's gonna be a white carrier. It was never that I. It's hard for me to explain the process, but those were the characters that just kind of naturally came out. for me, it just felt fitting to it. So, I don't have agendas as I write, as I said, so there was none of that. It was just for me, as a vessel of the story, as a story was coming out, it was just. Oh yeah, this character is this, this character is that, and this one is this. so no intention. But, once those things came alive, then the story kind of, evolves around what's, organically happening. So yeah, there wasn't intent, but at the end of it all, of course, I go, oh, I see what has come about and how the story is so, In hindsight now going, oh yeah, I did this. for me, it feels right in the, in the fact that for me, this is America Miko. To me, I, I don't write with an Asian American kind of pen, or, or a brown person pen for me, I actually first and foremost say I'm an American. There's no way around it. and it's simply put too, is that. I am an American. so for me, these characters are just. Natural. And when I know about me being American and knowing about American history, these characters just naturally fit in, you know?    Miko Lee: [00:19:50] Yep. Thank you so much. I've read that you talk about new Americana theater. Mm-hmm. And also Joan, you were talking about how during the pandemic, you know, everybody's learning new techniques, new ways of storytelling, just because everybody was forced to with the lockdown. Sunhui, can you talk more about what you believe New America Theater is all about?    Sunhui Chang: [00:20:12] For me, the reason why I kind of see it as new Americana theater, first off, 'cause it's, it's American, the stories that come out of me is very American. you know, and I recognize it. And for me, I, it is, this is part of the American fabric, so that's why it's called Americana. And for me, I say it's new. 'cause what's new is the perspective that it's coming out from. perspective, which brings on different characters, a different storyline, you know, different message. So yeah, that's, that's it for me when I refer to it as New America in the theater. It's just that, that it's, it's an American tale that now we've been able to incorporate new voices into.   Miko Lee: [00:20:54] I noticed there's a really large list of collaborators. Of course the two of you, but then there's a lot of other people as well. Can you talk about that creative process, how you all were able to work together, how you made decisions about, oh, this is the part we're gonna use film, this is the part we're gonna use, movement.   Sunhui Chang: [00:21:11] Like I said, it's very much organic. Our third major collaborator is Ellen Sebastian Chang. she is the director of the show, and when me, Joan and her, we first started delving into it, we did. It was just sitting down and talking a lot. Going through the scripts, the different skill sets that we bring in. And really it was through the dialogue miko and of us talking with each other, but also listening to each other. and that was a big part is that as we started listening to ourselves, we came out with this direction.    Miko Lee: [00:21:47] And what would you both like the audience to walk away with after seeing the boiling?   Joan Osato: [00:21:52] I think, you know, as Sunhui talked about this, ritual of deep listening and so, the play doesn't guide anyone towards some natural conclusion that they should have about, you know, it's, it's not saying you, you must believe this, it's really leaving it up to the viewer, the listener, to draw their own conclusions. And, I think that, that people who come to this will be incredibly moved. I think that they will see a lot of parallels with what we're going through now and what we've gone through. And examine there is a kind of shameful history that we all need to grapple with, whether we own it or not. You know, Sunhui had talked about manifest destiny and that being like one of the founding, you know, kind kinds of principles that this country is founded upon. And there are many, many others That I think the play touches on which give pause and, and give the people who are engaging with this, room to think and reexamine their own actions in the world and how they approach it.   Sunhui Chang: [00:23:02] I'll just mention as an aside, you know, some of the things that we're looking at is. Our disconnect from the natural world and how that has impacted the natural world. Right.  I think Joan is spot on in, in that about, yeah, first and foremost, I do find this so important once again to say about listening. I do. I, that is the big thing that I would love is that for us to, if we really wanna truly have dialogues, and especially with people who we disagree with, and there is a lot of disagreement in this world right now. and for me, yeah, to, Get us back to a place where we could really listen to each other and not be in such a place where all we wanted to do is kind of say what we have to say. It's almost this thing of, oh, you know, the other has to listen, the other has to listen. And I really would like it that it becomes kind of more inward that we all say, Hey, it is time for me to listen. And then of course just the fact that when, as we listen to each other, what I do find and what I hope that others find as well, is that we're much more connected and we have so many things that tie us together than separate.   Miko Lee: [00:24:19] Well, thank both of you so much for joining us on Apex Express. Is there anything else you wanna add?   Sunhui Chang: [00:24:24] Just one thing, Miko, one of the elements of this play, is this natural world with birding and I would love to just, one of the big inspiration is that it's just a quote from Emily Dickinson and the quote is, “hope is the thing with feathers.” For me, I would love for people to kind of sit with that and think about that and what that means for us as human beings in relationship to the natural world, you know, and the importance of that.   Miko Lee: [00:24:52] Oh, that's such a beautiful visual image. Thank you so much for sharing that. I appreciate both of you for sharing your time with me.    Joan Osato: [00:24:59] Thank you, Miko.    Sunhui Chang: [00:25:00] Thank you Miko    Miko Lee: [00:25:01] The Boiling is a brand new play, and it's a story of a Korean American adoptee Brian, who's a virologist from the Midwest, and a former homicide Detective v, a black woman who lives in the Pacific Northwest, and they're partnered to do this trace and track from north to south. They're following David, a white nihilistic carrier of a feverish virus called the Boiling. This world Premier Show opens to the magic theater and runs from April 2nd through April 20th. You can get more information about this show, including links to buy tickets at our show notes on kpfa.org/programs/apexexpress.   Ayame Keane-Lee: [00:25:42] Next we'll listen to an excerpt from The Camp, the first opera on the Japanese American Concentration camps during World War II. The camp premiered from February 22nd to March 2nd, 2025 at the JACCC Aratani Theater in Los Angeles. Composed by Daniel Kessner, who combines modern classical with Japanese instruments, A libretto by Lionelle Hamanaka, directed by Diana Wyenn, with Associate Director John Miyasaki, 11 singers and a 22 piece orchestra conducted by Steve Hofer. The incidents in The Camp Opera were drawn from different camps where over 126,000 Japanese Americans were imprisoned to see the many Japanese American groups that supported this project, including JANM, DENSHO and Raf Shimpo see the camp opera.com and if you know a place where The Camp can be performed near you, please contact the campopera.com/support.    MUSIC   Miko Lee: [00:27:53] Welcome to Apex Express. I'm so glad to have Eth-Noh-Tec once again, we get Robert Kikuchi-Yngojo and Nancy Wang.   Nancy Wang: [00:28:03] Yay. Yes. Hi. Hello. So glad to be here with you Miko.   Miko Lee: [00:28:07] We have been friends and colleagues for, it feels like a hundred billion years. The times that we're in are so complicated right now. But I just wanna first start with the question I often ask people, which is for each of you to tell me who are your people and what legacy do you carry with you?   Nancy Wang: [00:28:27] Well, I am Chinese American, and I am fifth generation on my mother's side. And. So we go all the way back to 1850 when our family first came on a junk boat and started the fishing industry in the Monterey Bay area.    Robert Kikuchi-Yngojo: [00:28:45] And I am, half Japanese, half Filipino, born in San Francisco, raised in Concord, California, and living in the Bay Area for all my life.   Miko Lee: [00:28:50] And what legacy do you carry with you?    Robert Kikuchi-Yngojo: [00:28:58] Well, I guess the identity I have as an Asian American, Japanese, and Filipino, um, I embrace all of that. The legacy is, as an artist, a performer. I've dedicated my life to creating works that reflect an Asian American consciousness, social, political, cultural. Both traditional works as well as new modern stories and music as well.    Nancy Wang: [00:29:25] And I was also a psychotherapist, so my work in the arts, whether it's dance, which I started out being a dancer and then a playwright, and then storytelling. I always weave in the healing aspect of what we all need to do in our communities. And so I use my art to also bring solace and bring celebration and bring, Depth and and the breadth of who we are as Asian Americans, as human beings, as part of this world, this country, then this city, so that we can celebrate who we are together.   Miko Lee: [00:30:04] Thank you for that. I hear you talking about activism, Asian American history, who we are and healing. I'm wondering if you could give me an update about what you're working on right now.   Nancy Wang: [00:30:14] Well, we have several things in the pipeline. I, for one, just finished writing and has now published Red Altar, which is the story of my ancestors. Three generations are followed in this book, about how they established the fishing industry in the Monterey Bay area. All the ways they had to reinvent themselves as laws were passed against them. The people try to get rid of them. And it's really a story of courage and determination and persistence, ingenuity and obviously success. Because I'm here. So I'm gonna be doing some more readings and that can be found on our webpage. Right. And Robert,    Robert Kikuchi-Yngojo: [00:30:55] I am focusing on archiving our work and after working with Nancy and creating Eth-Noh-Tec for the last 43 plus years, we have developed over 200 stories, and we put them on stage. We've written them, some of them are now being written as a compendium of stories. These are Neo-traditional folk tales and myths from Asia. And, people don't know much of this, but I am also an artist, so I'm creating illustrations that depict these stories. That's one project.   Nancy Wang: [00:31:23] Yeah, that's our next book. but what we're really excited about is our second Strong Like Bamboo, stories of resilience in the era of Asian American hate, but it's really broadened beyond Asian American because this year on May 22nd, will be a gathering of Latino and Asian artists and musicians, storytellers, and activists to just sit around and really share our stories, share our music, share our concerns, and to build bridges with each other because it, we will need to increase, our coalitions during this era. It's gotten worse, so we really need to come together.   Robert Kikuchi-Yngojo: [00:32:08] and we titled it strong like bamboo because of the Asian anecdote about, you know, one bamboo can snap, but together binding many bamboo together we're much stronger. So it's a call out to the community to bring all of our constituents and broaden that so that we are strong, as people of color.    Nancy Wang: [00:32:25] And of course we're gonna have food, which always brings us all together. But also bamboo can bend. Without breaking, so that's on a Thursday, May 22nd. But on May 25th, I have curated four other storytellers to tell their stories of their racist experiences and how they came through it to a healing place.    Robert Kikuchi-Yngojo: [00:32:48] There's a gathering of Asian American storytellers, both from the Chicago area and also from the west coast.    Nancy Wang: [00:32:53] And there'll be a panel so they can ask questions and we can have discussions. But after that, the people in the audience will have the opportunity to break up into small groups of three in which they get to share their own stories, their own concerns, and that's really the whole thing is about inspiring people to come through what they're going through and coming out, on the other side with some hope and healing. Because when we share our stories, we lift that particular burden of, say our story about our racist experience. We lifted off our own shoulders and we get to share it. With someone who's listening with compassion and we don't feel alone anymore. It's really a powerful, powerful way to find community connection, relation, and strength.   Robert Kikuchi-Yngojo: [00:33:45] And we'll have also in both of those events, resources in earlier years, I was an Asian American songwriter and did a lot of songs of not just identity, but of unity. I'm also gonna be singing a theme song called Bamboo, which is part of the title and also, a work by Chris Jim, famous of the Chris and Joe Asian American Duet from years ago. the one song we're still here, though it was written 30, 40 years ago. It's still pertinent to what's going on now, especially declaring that America is a multiracial, multiethnic, texture of society.   Nancy Wang: [00:34:20] and, in 2026 we're gonna bring on, African-American and Euro-American, storytellers also, so that we really have a multicultural representation of all who we are and how we still will need to come together. I hope things will be better by 2026, but who knows?    Miko Lee: [00:34:39] Thank you so much for sharing about how storytelling can really be a tool for social change. Is there anything else you wanna share with our audience?   Nancy Wang: [00:34:47] Yeah. please come to our strong like Bamboo on May 22nd and 25th is gonna be at the San Francisco Public Library Main Library, both are free to the public May 22nd the Thursday at May 22nd, it's gonna be in Hispanic room,    Robert Kikuchi-Yngojo: [00:35:05] and what time?   Nancy Wang: [00:35:06] Six to seven-thirty. And on Sunday it'll be in the presentations, the performances in the panel will be in the Koret auditorium, and then small groups will convene in the Hispanic room, which is right next door, and it's got elevators. So no problem, in getting there. Plus Bart and the bus is, it's easy to get there. And so that's what we wanted so that people could feel welcome.    Robert Kikuchi-Yngojo: [00:35:35] And that second show on Sunday Strong like Bamboo will feature our guest artist storytellers, professional storytellers. One of them being a local Eleanor Clement Glass who's half African American and Filipino, talking about her experiences. And then also, two guest artists from Chicago, one of them being Lillian Ji, who is a Japanese American hapa. Then third is, Archie Jun, who is a Thai American gay comedian storyteller who is a total riot. we are really wanting to blend many of our communities together to hear this talent Yes. And to deal with the topics.    Nancy Wang: [00:36:10] So we would love for the LGBTQ plus community to come out as well and support him and feel proud because all of the stories will, will really showcase our strength and our ability to deal with these things and come out the other side. So we are hoping that in the process of telling our pain, but coming out, on the other side, that it will be an inspiration for everyone to keep going during this difficult, very difficult time.    Miko Lee: [00:36:41] Thank you so much for joining me today.    Nancy Wang: [00:36:44] You're welcome. Thank you   Ayame Keane-Lee: [00:36:46] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, and online worldwide at kpfa.org.   Miko Lee: [00:37:05] Welcome Jiehae Park to Apex Express. I am so excited to talk to you about the world premier of the aves opening at Berkeley Repertory Theater, May 2nd through June 8th. Welcome to Apex Express.    Jiehae Park: [00:37:19] Hi, Miko. It's so nice to be here. Thanks for having me.    Miko Lee: [00:37:22] I wanna just first start with a personal question, which is, who are your people and what legacy do you carry with you?   Jiehae Park: [00:37:31] Hmm. I love the phrasing of that question. I was born in Korea and I came to the states when I was three years old with my parents who came to go to graduate school. And my father's family fled the north during the war. And my mother's family had always been in the south. And I definitely think that who they are and where they came from is a big part of who I am and the questions that I think of. And in a lot of ways, not just, racially and culturally, but also in terms of their interests. They're both scientists. This play deals, I hope thoughtfully with questions of identity and consciousness, that I've always been interested in.    Miko Lee: [00:38:18] And what legacy do you feel like you carry with you from them?   Jiehae Park: [00:38:22] Hmm. I mean, I write a lot about immigrants. This play isn't specifically about that, but in a lot of my previous work, I, I have. have written a lot about immigrants and I feel like my parents, you know, they came to this country when they were in their twenties. They didn't speak the language. They came from a generation of folks and at that time in the country where they were really, they had to be a certain way to survive. And I think that, intensity of work ethic, and the things that you also have to give up in order to get to where you think you wanna be, that question is, is part of their legacy to me. It's a, it's a gift and also something that, like a lot of other immigrants, I think I'm always sort of turning over in my mind and, and trying to look at from other angles.    Miko Lee: [00:39:12] Thank you for sharing. I'm wondering if you can talk to us about, first this title of your, world Premier, the aves. Where did this title come from? What is it about?    Jiehae Park: [00:39:23] So the title is the Latin word for Birds. And, the play there's a mystery that sort of unspools early on. So without, without giving too much away we see this old couple on a bench, on a park bench, and they have clearly been together for a long time and they are having a conversation that seems like a very ordinary conversation. And over the course of the first scene, we soon learn that they are discussing, doing something that will have ramifications throughout the rest of the play. And the aves is a word that I loved because of the association with birds. There, there are birds that make an appearance in this play, in both pedestrian and unexpected ways, in mysterious ways, and hopefully humorous ways. and then the connotation also of Ave Maria and this, this feeling of the sacred, which also infuses the play, which has a lot of humor, but also when I was writing it, I was thinking a lot about nature and the passage of time and this feeling of awe that I get when engage with nature. And I think that word also has those connotations for me.    Miko Lee: [00:40:46] And that sounds like a mystery that people need to come to find out more about. Can you tell us what inspired this work?    Jiehae Park: [00:40:54] I used to live on the northside of Central Park in Harlem, and I had this tiny, tiny little window that looked out, onto the north side of the park. And every day I would sit down to write and through my tiny window, I would see the same man sitting on this bench every day. And as the seasons changed and the leaves changed and the light changed, but still every morning there was the consistency of seeing the same person. And I think I I was thinking a lot about the passage of time and of nature shifting And I think subconsciously I was thinking about getting older myself. This was a time before I had children, but I was starting to become aware of my parents aging and generationally My peers, also our parents were aging and, and starting to have, you know, the complications and the beautiful things that can come with that. So I think all of that was a big soup in my subconscious. and I sat down and I wrote the first scene very quickly and then. I didn't know exactly what the rest of the play was gonna be, but I knew structurally that the first scene would be this old couple and that the second scene would be, a slightly different configuration of, of bodies. But that was hard to be so mysterious, um, and that the nex scene would be a different specific configuration of body. So I was thinking about the age of the bodies that you're watching and the story evolved from that. And I guess I should say that the play is set in a moment sort of best after now. So it's not the present, but it's not the distant future. It's certainly not like hard sci-fi by any means, but I think it uses some tools of speculative fiction. To ask questions that hopefully are illuminating about ourselves now.    Miko Lee: [00:42:59] Interesting. Did you ever talk with the man in the park that inspired this piece?   Jiehae Park: [00:43:05] You know, it's so funny. After the first couple of weeks of watching him, I realized he lived in my building and I hadn't noticed him before.    Miko Lee: [00:43:18] Wow. That's amazing.    Jiehae Park: [00:43:20] And I think that that's also something that. I had been thinking a lot about at the time this question of presence and attention, especially in New York, which is a city that is so loud. I mean, I love, I love New York and there's so many things that I love about New York, but it is such a loud city and it is hard to hear yourself think and, and the quality of attention in any. I was gonna say in any city, but in like any moment in our extremely chaotic world, I mean, especially now, that sort of quiet present quality of attention that I think is so beautiful and so rare, and I associate with, I'm not religious, but, but when I was a kid, I was, and this, this quality of, of sacred space, I think I was, I was really curious about that. And at the time, I think I had also that year gone on a silent meditation retreat. so trying to bring that quality of attention to my ordinary life as a urban citizen, I think was also part of the experience of writing the play. But yeah, he lived in my building and I hadn't noticed him before. And so this question of what do we notice and what do we need to shift in ourselves to notice what's in front of us and has been in front of us.    Miko Lee: [00:44:44] I am hearing you talk about a sense of presence and, and time passing. I'm wondering if that is what you want the audience to walk away with or are there other things that you're interested in provoking with this piece?    Jiehae Park: [00:44:57] As an audience member, when I go to any play, I always hope to leave a little bit different than how I entered and. That shift can be really subtle. In fact, for me as an audience member, sometimes it feels more profound when it is subtle. So on, on like at like a really baseline level. We've been having a lot of conversations with the design team about how to create this. Quality of space that feels different from the mundane so that when we enter the space of the theater, so for our body chemistry changes and that we are being asked by the play to lean in and pay attention perhaps in a way that we're not asked to pay attention, in, in the world outside of that room. And to be able to request that of an audience and share that with an audience. Together, I think is such a beautiful thing. And, and one of my favorite things about any collective experience when, when it all feels like we're breathing together. And my hope is that that's something that we can create, at a, like a biochemical level in our bodies, on a sort of more. Intellectual, emotional, philosophical level. I think there are questions that the play is asking about, what makes us, us and memory and the ability of a person and a relationship to change over a long period of time. And over the course of events that. May require forgiveness. those were certainly things that I was thinking about while I was writing it. So there's also that, that more character relational level of questioning that, that I think, will resonate with people, in different ways depending on where they are in their lives. And then I think especially because, you know, there's a lot of conversation about sandwich generation now, like folks, I. Who have dealt with aging themselves or aging parents and, the complexities and possibilities that can create. I think that there's another layer of the play that stirs up some of those questions as well.   Miko Lee: [00:47:04] Speaking of complexities and possibilities, I understand that you studied music and that you're also an actor and then you also write for Marvel's Runaways. Can you share a little bit about how these different elements impact you as a writer, as a creator?    Jiehae Park: [00:47:20] Yeah, so I started as an actor, which I think a lot of people do, mostly because it's the most accessible thing. Like you can audition for a play. You can't sort of audition to write a play. you can just write a play. But that, I think, came later for me. I don't really perform a ton anymore, although I did love it. and then the shift to television happened eight or so years ago. There's a big movement of playwrights moving into television, during peak tv. And they're very different. there is some shared similarity in storytelling instincts and craft. but the mediums are just really different, so I feel like I get very different things from, from all of them. I feel like I learned being a performer for a long time. As an artist, it's just getting to bump up against people who you think are fascinating and learn from them what you like and what you don't like, and who you wanna be and who you don't wanna be. and from tv I think I learned, To not be so precious. It takes a really long time for me to write a play. and I used to think, oh, I have to go into the woods and like be silent for a month and then like a play will emerge. And like sometimes it happens and it, that feels like a blessing when it does. But in TV, because there's so much money at stake and so much time pressure that you know, when something's due, it's just due and you turn it in. And if it's not perfect, you just deal with it and you make it as good as you can. And I think that there's a certain amount of shedding of perfectionism, which has been really healthy for me. but I do. Love the theater for the ability to spend a long period of time contemplating something and, and making it with a group of people who feel inspiring and we're all moving towards the same thing. and I think there's a little bit more space or a lot more space in the theater for things that may feel. mysterious or more open. whereas in television especially these days with the sort of decline of peak TV, there's an expectation of propulsion. Like overt propulsion, if that makes sense. That is not a criticism like, you know, I also love TV. but it is, it's like the pace of it is different and the ask of it is different than the ask of a play and and the baseline thing of just, you're not in the same room with the people experiencing it that is so special in theatre.    Miko Lee: [00:49:45] How do you go about shifting that mindset for that kind of speed of TV that you're describing versus the kind of longer meditative state of creating theater?    Jiehae Park: [00:49:55] Yeah, I mean, I think there's hopefully a two-way exchange. Because I also think that bringing some of those qualities of thoughtfulness and deliberation to the world of TV within the container, within the boundaries of it, can be incredibly useful. And ultimately a lot of the things that delight people, delight people regardless of the format. So that, like, that feeling of inevitable but surprising, like that's something that is of tremendous value in all mediums, right? I think for me personally, when I write a play. I try to make a space in my life that is a little more still. and I have a toddler now, so that's challenging. But in a way, working in television has been really helpful for that because, you know, I don't have five hours in the middle of the day to, you know, be with myself and listen to the trees. I maybe have like 30 minutes, but to try to drop into that as. quickly and without angst, without like working myself up about it. 'cause that's a waste of time. That's been a useful lesson to learn. Whereas working in television can feel a lot less lonely also than playwriting because in a writer's room, most shows in the states are written in the writer's room, there are few exceptions, and you're with a group of people. And so there's a sort of energetic exchange happening there that in a play only happens much, much later when you're in rehearsal and ideally in production. there's a sort of joyful energy and exchange that can happen in a writer's room, both when you're breaking the story and then ultimately when you're in production. And there's like many, many more people involved. And there's the crew and the cast and you know, all of the technical departments and producers. I feel like you mentioned, Code switching earlier. And, humans are so adaptable and I think we automatically sort of shift our brain chemistry and our body chemistry in response to the environment around us. sometimes very consciously, sometimes unconsciously, sometimes both. so I think a certain amount of that is just, okay, these are the given circumstances. And then, you become who you need to be in that space.   Miko Lee: [00:51:54] Thank you for sharing. Okay. I have one last TV question, which is that given that everybody's in this writing room together and you're, there's kind of a speed that's attached to it, do you feel like things get thrown out more quickly and with less kind of emotion attached to it than in theater?    Jiehae Park: [00:52:10] It's possible. I think it depends on the person. So I just worked on season four of the morning show last year. And there is a real need on that show because it deals with the news to be absorbing what's happening in the world and shifting the story based on that. And so that there has to be a sort of lightness around that. So in that kind of environment, absolutely. but I've also been in other rooms where someone got really attached to an idea, and maybe it was clear that that idea wasn't gonna work out, but there was, there was still like something, in it that wanted to be held onto and, and it may be hung on for a long time. And that process. Also could have happened, like that exact parallel process could have happened in a play. And actually in neither of the situation, is that necessarily a bad thing? Like is there something about that idea that maybe is not the idea itself, like the emotional core underneath it or the deep, deep idea underneath it that is useful? That even if the manifestation of the thing doesn't continue, if the manifestation gets thrown out, but like the real thing that was underneath it was important gets folded in in some unexpected way. I don't think it's a bad thing either way. It just is the peculiarities of any particular process.   Miko Lee: [00:53:22] And it sounds like it's about the people too, right?    Jiehae Park: [00:53:25] Yes, definitely. Absolutely. Yeah, yeah. Yeah. And I've certainly been in that book where I'm like, oh, I really think it's like this. It's gotta be this, it's gotta be this. And then, you know, two years later, I look at the draft, I'm like, oh, no, no, no. It, it is definitely not that. Like let me take that entire thing out. and it just was in that particular moment, I wasn't ready for whatever reason to let go of that idea. And that's okay. I am now, and then it moves on.    Miko Lee: [00:53:48] We're circling back to the beginning of the conversation about the aves, which is about presence and being in that moment. And where you are in that moment might be, no, this isn't right. And then years later you say, oh yeah, that wasn't right. Or that was right.   Jiehae Park: [00:54:03] Yeah, exactly, exactly. To listen to yourself is a, you know, I, I am, I've been doing this for a long time now and, that is still something that I feel like I always have to learn, that I think just is a human.   Miko Lee: [00:54:15] Yes. The perennial lesson of Yes, intuition. I'm wondering if you could tell our audience why they should go see the aves.    Jiehae Park: [00:54:24] My hope is that if you are curious about a certain kind of experience and attention in the theater, that you'll accept our invitation to this play, which is an unusual play. I don't think that everyone should see this play, just like, I don't think everyone should see any particular work of art, but if the things that we've been discussing, if the sort of vibe that you're getting from this conversation resonates with you, then the experience of seeing this play with a group of people who are also curious about that kind of experience may be something. That is enjoyable for you and would probably therefore also be enjoyable for that audience to be together with you and for the play to be together with you in that space.    Miko Lee: [00:55:17] Thank you so much for spending time chatting with us. Folks can see the aves at Berkeley rep May 2nd through June 8th. Thank you so much, Jiehae.   Ayame Keane-Lee: [00:55:26] For you Asian American film makers out there: SFFILM announced a new annual filmmaking grant in partnership with Cedar Road. The SFFILM Cedar Road Iyagi Grant is dedicated to fostering bold, original feature film projects that amplify Asian and Asian American perspectives on screen. In Korean, iyagi means “story”—a word that embodies the heart of this grant's mission: to champion storytelling as a powerful bridge connecting people across cultures and perspectives. A link to the grant application will be available in our show notes.    Miko Lee: [00:55:58] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.    APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.  The post APEX Express – 4. 3.25 – Coming Up Next appeared first on KPFA.

It's the wild, true story of Donald Nichols, a seventh-grade drop-out who rises from Army Mechanic to Black Ops Phenomenon during the Korean War. Hear the whole twisted tale - from his unlikely rise, to his fall, to the weeks of electroshock therapy - and from Blaine Harden, the world's leading expert on the subject.—-SILF's (Sources I'd Like to F*ck)Book - The King of Spies: The Dark Reign of America's Spymaster in Korea by Blaine HardenBook - The Great Leader and the Fighter Pilot by Blaine HardenBook - Escape from Camp 14: One Man's Remarkable Odyssey from North Korea to Freedom in the West by Blaine Harden---LILF's (Link's I'd Like to F*ck) See Dawn on THE HISTORY CHANNEL - Histories Greatest Mysteries (multiple seasons) See Dawn on THE HISTORY CHANNEL - Crazy Rich AncientsCheck out HILF MERCH now available on Redbubble! Stickers, t-shirts, bags and more!HILF is now on Patreon!Buy Me a CoffeeFind your next favorite podcast on BIG COMEDY NETWORK. ---WANNA TALK? Find us on Instagram or email us hilfpodcast@gmail.comTheme song: Composed and performed by Kat Perkins—-

Designing Women, Season 6, Episode 17: MamedAnthony puts on a show.Watch along with us on Hulu (Not Sponsored)Buy our Merch: www.mimsandmaim.comSupport us on Patreon at www.patreon.com/mimsandmaimThank you to our Patrons:Sharon JDeana FElizabeth JAdam PCrystal AMorgan WCody HJessie PSheri SEmail Us: mimsandmaim@gmail.comCall Us: 7043800618Support us Via PayPal: https://www.paypal.com/donate?hosted_button_id=VNMM8UTK485XQSpecial thanks to Miss B for her sponsorship of our podcast. You can find her on TikTok @GeektombFind the queens on Twitter:Auntie Maim: @auntiemaimsThe Divine Miss Mims: @divinemissmimsThank you to MrMahaffey for our lovely artwork.Follow him on Instagram: www.instagram.com/MrMahaffeyEtsy Store: www.etsy.com/shop/MrMahaffeyOur Theme Song is Composed by JDR #1980s #1990s #auntiemaim #Charlene #comedyqueens #designingwomen #dragqueens #Julia #lgbt #Maryjo #podcast #sitcom #Suzanne #thedivinemissmims #Anthony #Bernice #rewatch #classic #lgbtq #hulutv #tv #newepisode

[This episode (aka "That's Entertainment: Napa, Act 4") was recorded live in 2022 at the Blue Note Jazz Festival.]."If you're on the battlefield, you don't look at your opponent and be like 'I am insecure about things.'...You tell them all the dope shit that you can do." —Dave ChappelleDave, Talib, and yasiin are joined by comedian Katt Williams.Featuring: Dave Chappelle, Talib Kweli, yasiin bey, and Katt WilliamsContains music from Ted Hawkins and Alice ColtraneExecutive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi WilburProduced, Edited, and Composed by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayProduction Coordinator: Diana Chammas Live Engineering by: Mike Brown Mixed by: Mario Borgatta & Jordan GalvanPodcast Artwork: Leeann SheelyStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Ted Williams, Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Sina Sadighi, Deborah Mannis-Gardner, Nicolle Johnson, Donna Dragotta, Carla Sims, Pete Amaro, Clint Balcom, Jennifer Branigan, Taylor Dalton, Miles Hodges, Zainab Khan, Christopher Landry, Coral Lee, Jayme Lynes, Mykola Logvynenko, Rishi Malhotra, Mohan Nerkar, Brian Parsons, Lauren Perkins, Kyle Ranson-Walsh, Matt Sacks, Betsy Santoyo, Lisa Schrader, Akhila Shankar, Leeann Sheely, and Mark Silverstein.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2022 by Pilot Boy Productions, Inc., all rights reserved.

NBN host and CanLit fangirl extraordinaire Hollay Ghadery speaks with rob mclennan about his collection of stories, On Beauty (University of Alberta Press, 2024). This contains a provocative collection of moments, confessions, overheard conversations, and memories, both fleeting and crystalized, revolving around the small chasms and large craters of everyday life. Situated at the crossroads of prose and poetry, these 33 vignettes explore the rhythm, textures, and micro-moments of lives in motion. Composed with a poet's eye for detail and ear for rhythm, rob mclennan's brief stories play with form and language, capturing the act of record-keeping while in the process of living those records, creating a Polaroid-like effect. Throughout the collection, the worlds of literature and art infuse into intimate fragments of the everyday. A welcome chronicle of human connection and belonging, On Beauty will leave readers grappling with questions of how stories are produced and passed through generations. About rob mclennan: Born in Ottawa, Canada's glorious capital city, rob mclennan currently lives in Ottawa, where he is home full-time with the two wee girls he shares with Christine McNair. The author of more than thirty trade books of poetry, fiction and non-fiction, his most recent titles include the poetry collection Snow day (Spuyten Duyvil, 2025), A river runs through it: a writing diary , collaborating with Julie Carr (Spuyten Duyvil, 2025),On Beauty: stories (University of Alberta Press, 2024) and the anthology groundworks: the best of the third decade of above/ground press 2013-2023 (Invisible Publishing, 2023). This fall, University of Calgary Press will be publishing his poetry collection the book of sentences, a follow-up to the book of smaller(2022). The current Artistic Director of VERSeFest: Ottawa's International Poetry Festival, he spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta. About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today, we're looking back at Astyanax, an action platformer released for arcade and NES in 1989 and a game we both grew up playing. Sometimes referred to as "The Lord of King" or "The Astyanax", the original arcade game was developed by Aicom and published by Jaleco, with the NES version developed and published by Jaleco. Both versions share some similarities, like fighting hordes of mythological creatures, but the key difference for our show is they feature completely different soundtracks. We'll be focusing on the NES soundtrack written by Toshiko Tasaki with an occasional detour to the arcade original composed by Kiyoshi Yokoyama. Composed by: NES: Toshiko Tasaki Arcade: Kiyoshi Yokoyama Tracklist 0:00:00 - Opening Story (NES) 0:00:21 - Title (NES) 0:6:08 - Introduction / Round 5 Cutscene (NES) 0:9:22 - Round 1 - Remlia Castle (NES) 0:18:53 - Stage 1 - In the Forest (Arcade) 0:23:03 - Boss Intro + Boss Theme (NES) 0:25:32 - Round 2 - Redroad Forest (NES) 0:31:49 - Round 2 Cutscene (NES) 0:35:47 - Round 3 Cutscene (NES) 0:36:36 - Round 4 - Marshy Swamp (NES) 0:45:19 - Round 4 Cutscene (NES) 0:46:20 - Round 5 - Telugamn Bridge (NES) 0:48:51 - Round 5 Cutscene (NES) 0:50:11 - Round 1 Cutscene / Round 6 / Last Boss (NES) 0:53:49 - Stage 3 - On the Lake (Arcade) 0:58:38 - Ending (Arcade) 1:02:39 - (Bedding) Name Entry (Arcade) 1:04:27 - Ending Story + The End (NES)

Sir Jony Ive is a designer who is best known for his pioneering work at Apple alongside his friend and colleague, the late Steve Jobs. Jony's creative vision is behind some of the company's seminal products which have transformed the way we live today including phones, music players and watches. He was born in Chingford in east London and loved drawing and spending time in his father's workshop where the two of them made the young Jony's Christmas presents including a go-kart, a treehouse and a toboggan. He studied Industrial Design at Newcastle Polytechnic and moved to San Francisco to work for Apple in 1992. In 1997 Steve Jobs returned to the company, having been ousted several years earlier, and the two of them set about revolutionising the landscape for home computers with the creation of the iMac. In 2019 Jony set up his own company LoveFrom with the industrial designer Marc Newson. In 2023 Jony and his team designed a foldable Red Nose for Comic Relief and in the same year the company launched a scholarship programme aimed at increasing representation in the design industry.In 2012 he was appointed Knight Commander of the Order of the British Empire for services to design and enterprise.DISC ONE: Really Saying Something (US Extended Version) - Bananarama, Fun Boy Three DISC TWO: De Do Do Do, De Da Da Da - The Police DISC THREE: Main Theme - Carter Takes a Train - Roy Budd DISC FOUR: Singin' in the Rain - Harry Ive DISC FIVE: Don't You (Forget About Me) - Simple Minds DISC SIX: Define Dancing - Thomas Newman DISC SEVEN: Debussy: Suite bergamasque, L.75: 3. Clair de lune. Composed by Claude Debussy and performed by Claudio Arrau (piano) DISC EIGHT: "40" - U2 BOOK CHOICE: The complete set of Jeeves & Wooster novels by P G Wodehouse LUXURY ITEM: A bed CASTAWAY'S FAVOURITE: "40" - U2 Presenter Lauren Laverne Producer Paula McGinley

[This episode (aka "That's Entertainment: Napa, Act 3") was recorded live in 2022 at the Blue Note Jazz Festival.]“Nobody's building monuments to the sellouts.” —yasiin beyDave, Talib, and yasiin discuss the importance of keeping the main thing the main thing. Featuring: Dave Chappelle, Talib Kweli, yasiin beyContains music from Michael Jackson, Eric B. & Rakim, Black Star, Kendrick Lamar, LL Cool J, Earl Sweatshirt, Tyler, the CreatorExecutive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi WilburProduced, Edited, and Composed by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayProduction Coordinator: Diana Chammas Live Engineering by: Mike Brown Mixed by: Mario Borgatta & Jordan GalvanPodcast Artwork: Leeann Sheely

It's deep dive day here at Fated Mates and we're reading an absolute banger of a historical -- Julie Anne Long's fifth Pennyroyal Green book, What I Did for a Duke. We talk about great romance kisses, about age gaps and how they operate in books, about house parties and art and sacrifice and how sexy it is when someone actually sees you for who you are. If you haven't read this one yet, do yourself a favor and do it right now. It's so great.If you want more Fated Mates in your life, please join our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.The BooksWhat I Did for a Duke by Julie Anne Long The Pennyroyal Green SeriesShow NotesThe main building you think of when you think of the New York Public Library with the lions is officially called the Stephen A. Schwarzman Building. From what I can tell, it didn't actually have anything to do with Andrew Carnegie, but he did donate $5 million to ensure that the New York Public Library had branch libraries in communities around the city. He also donated a lot of money to other things, that's a fun thing billionaires used to do. Read more about doing the forbidden kind of “romance stuff” in the library. Jen talked to the New York Public Library's Best New Romance List Committee Co-Chairs Kate Fais and Grace Loiacon back in February.In 2022, we recorded our “Break in case of emergency” episode, and it was in fact two sisters, Cait and Kara who requested the episode. PS: We are in emergency. Feel free to break those out now.Julie Anne Long's The Beast Takes a Bride was on our Best of 2024 episode. What I Did for a Duke is the 5th book in her Pennyroyal Green series. “It must have been a lie,” is what Jen's grandma Betty used to say if you lost your train of thought and couldn't remember what you were saying. This is a good speech from Crash Davis, the pitcher played by Kevin Costner in the 1988 movie Bull Durham (also, Nuke says “what's all that molecule stuff?” which is pretty funny considering the title of this episode).The Isabella Stewart Gardner Museum in Boston had a Titian exhibition back in 2022 called Women, Myth and Power, and it seems like a thing Genevive would have liked it a lot.

Re-join Dawn and her guest, comedian, Jackie Kashian (Netflix, late show, Comedy Central) for a few more tasty morsels from the history of Napoleon's doomed last stand.  Listen to Jackie's two great podcasts: The Dork Forest, which invites folks from a variety of backgrounds to come and share the stuff on which they are “dorks”, and the comedy podcast The Jackie and Laurie Show which pairs her with another great comedian, Laurie Kilmartin.—SILF's (Sources I'd Like to F*ck)Book - Waterloo: The History of Four Days, Three Armies, and Three Battles by Bernard CornwellYOUTUBE - Napoleonic Wars: Battle of Waterloo 1815 (Epic History: 14 min)---LILF's (Link's I'd Like to F*ck) See Dawn on THE HISTORY CHANNEL - Histories Greatest Mysteries (multiple seasons) See Dawn on THE HISTORY CHANNEL - Crazy Rich AncientsCheck out HILF MERCH now available on Redbubble! Stickers, t-shirts, bags and more!HILF is now on Patreon!Buy Me a CoffeeFind your next favorite podcast on BIG COMEDY NETWORK.  ---WANNA TALK? Find us on Instagram or email us hilfpodcast@gmail.comTheme song: Composed and performed by Kat Perkins

Joining Napoleon on his journey to his now-famous defeat at Waterloo, is comedian, Jackie Kashian. She has several comedy albums, performs across the country, and on all your screens: Netflix, late show, Conan and so much more. You can also hear her on two great podcasts, The Dork Forest, which invites folks from a variety of backgrounds to come and share the stuff on which they are “dorks”, and the comedy podcast The Jackie and Laurie Show which pairs her with another great comedian, Laurie Kilmartin.—-SILF's (Sources I'd Like to F*ck)Book - Waterloo: The History of Four Days, Three Armies, and Three Battles by Bernard CornwellYOUTUBE - Napoleonic Wars: Battle of Waterloo 1815 (Epic History: 14 min)---LILF's (Link's I'd Like to F*ck) See Dawn on THE HISTORY CHANNEL - Histories Greatest Mysteries (multiple seasons)See Dawn on THE HISTORY CHANNEL - Crazy Rich AncientsCheck out HILF MERCH now available on Redbubble! Stickers, t-shirts, bags and more!HILF is now on Patreon!Buy Me a CoffeeFind your next favorite podcast on BIG COMEDY NETWORK.---WANNA TALK? Find us on Instagram or email us hilfpodcast@gmail.comTheme song: Composed and performed by Kat Perkins—-

This episode (aka "Artist or Merchant: Napa Act 2") was recorded live in 2022 at the Blue Note Jazz Festival.“It's not that I don't love America. I do love America. Does America love me?” —yasiin beyDave, Talib, and yasiin don't know how to feel about America right now. Where do we go from here?Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi WilburProduced, Edited, and Composed by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayProduction Coordinator: Diana Chammas Live Engineering by: Mike Brown Mixed by: Mario Borgatta & Jordan GalvanPodcast Artwork: Leeann SheelyStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Ted Williams, Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Sina Sadighi, Deborah Mannis-Gardner, Nicolle Johnson, Donna Dragotta, Carla Sims, Pete Amaro, Clint Balcom, Jennifer Branigan, Taylor Dalton, Miles Hodges, Zainab Khan, Christopher Landry, Coral Lee, Jayme Lynes, Mykola Logvynenko, Rishi Malhotra, Mohan Nerkar, Brian Parsons, Lauren Perkins, Kyle Ranson-Walsh, Matt Sacks, Betsy Santoyo, Lisa Schrader, Akhila Shankar, Leeann Sheely, and Mark Silverstein.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2022 by Pilot Boy Productions, Inc., all rights reserved.

Stephen Mangan is an award winning actor who is also a presenter and writer. His prolific career includes comedic roles in TV hits Green Wing; Episodes and Adrian Mole. He also plays the much loved Nathan in BBC drama The Split and has appeared in many award winning theatre productions in the UK and on Broadway.Born in London to Irish immigrant parents, Stephen studied Law at Cambridge University. His passion though was for acting and after taking time out to care for his mother, he spent three years at RADA before pursuing a successful career on stage, screen and film. Stephen lives in London with his wife and three sons.DISC ONE: King of the Road - Roger Miller DISC TWO: I Recall A Gypsy Woman - Don Williams DISC THREE: Beautiful Boy (Darling Boy) - John Lennon DISC FOUR: Who Knows Where the Time Goes - Fairport Convention DISC FIVE: Stayin Alive - Bee Gees DISC SIX: Ravel: Piano Concerto in G Major, M. 83: II. Adagio assai. Composed by Maurice Ravel and performed by Martha Argerich (piano) and Berliner Philharmoniker, conducted by Claudio Abbado DISC SEVEN: Rhapsody in Blue. Composed by George Gershwin and performed by New York Philharmonic, conducted by Zubin Mehta DISC EIGHT: (Your Love Keeps Lifting Me) Higher And Higher - Jackie Wilson BOOK CHOICE: Collected Works of Seamus Heaney LUXURY ITEM: A piano CASTAWAY'S FAVOURITE: Stayin Alive - Bee Gees Presenter: Lauren Laverne Producer: Sarah Taylor

This episode (aka "Napa Act 1") was recorded live in 2022 at the Blue Note Jazz Festival.“Art is the perfect place to talk it out–in fact, maybe the last place.” The crew reflects on how nuance and purpose is lost in a culture that favors judgment over debate.Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, and Kenzi WilburProduced, Edited, and Composed by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayProduction Coordinator: Diana Chammas Live Engineering by: Mike Brown Mixed by: Mario Borgatta & Jordan GalvanPodcast Artwork: Leeann SheelyStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Ted Williams, Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Sina Sadighi, Deborah Mannis-Gardner, Nicolle Johnson, Donna Dragotta, Carla Sims, Pete Amaro, Clint Balcom, Jennifer Branigan, Taylor Dalton, Miles Hodges, Zainab Khan, Christopher Landry, Coral Lee, Jayme Lynes, Mykola Logvynenko, Rishi Malhotra, Mohan Nerkar, Brian Parsons, Lauren Perkins, Kyle Ranson-Walsh, Matt Sacks, Betsy Santoyo, Lisa Schrader, Akhila Shankar, Leeann Sheely, and Mark Silverstein.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2022 by Pilot Boy Productions, Inc., all rights reserved.

“Everything is upside down!”The Midnight Miracle crew, along with guests Jon Stewart and Q-Tip, get real on what's f'd-up in America. Featuring: Bill Murray, Arthur Jaffa, Pharoahe Monch, Jon Stewart, and Q-Tip Contains audio clips featuring Maya Angelou, and music from (in order of appearance) Harry Belafonte, th1rt3en, Bekon, Kahil El'Zabar, Charles Wright & The Watts 103rd St Rhythm Band, Willie Dunn, and Quincy JonesRecorded in Ohio. Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi Wilbur, and Miles HodgesProduced, Edited, and Composed by Noah Gersh and Jamie Schefman for SALTStory Producers: Lee Adams and Imran Malik Production Manager: Liz LeMayProduction Coordinator: Diana Chammas Recording Engineers: Federico Lopez and Adrián Bruque for NPNDAssistant Editor: Noah Kowalski Additional Score by Jasper van Dijk Transcription Supervisor: Sam BeasleyMixer: Jordan GalvanPodcast Artwork: Leeann SheelyStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Sina Sadighi, Deborah Mannis-Gardner, Nicolle Johnson, Donna Dragotta, Carla Sims, Pete Amaro, Clint Balcom, Jennifer Branigan, Taylor Dalton, Miles Hodges, Zainab Khan, Christopher Landry, Coral Lee, Jayme Lynes, Mykola Logvynenko, Rishi Malhotra, Mohan Nerkar, Brian Parsons, Lauren Perkins, Kyle Ranson-Walsh, Matt Sacks, Betsy Santoyo, Lisa Schrader, Akhila Shankar, Leeann Sheely, and Mark Silverstein.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2022 by Pilot Boy Productions, Inc., all rights reserved