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Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Luke 11:29-36 — Josh Fairbaugh

Jim & Livio know NOTHING about insurance, and neither do the customers of Dr. Orloff. The Human Monster is a 1939 British horror film starring Bela Lugosi (originally titled the Dark Eyes Of London). One of Lugosi's more popular 'poverty row' films, he plays a dual role of Dr. Orloff and the meek and blind Professor Dearborn. Jim & Livio discuss Lugosi's almost-wartime trip across the pond, the production, the 'H' code the film received from censors, and much more! Alternate SidesA movie podcast with a twistListen on: Apple Podcasts Spotify

Join us for Episode 165 of Popcast on the Rocks! We'll discuss what entertainment we've been consuming including X-Men 97 season 1 and Doctor Who Dark Eyes 1-4. Those things will not include spoilers, but our big discussion in the latter half of the episode about Shogun from FX, will do. Please review, share, and subscribe! 0:00 Opening 0:21 Intro 3:11 Drinks 16:54 X-Men '97 S1 REVIEW (No Spoilers) 27:42 Mad Max 2: The Road Warrior REVIEW (No Spoilers) 32:30 Doctor Who reminiscing 40:00 Doctor Who Dark Eyes 1-4 REVIEW (No Spoilers) 48:36 Pac-Man Birthday 50:17 Harry Potter Cooking Show! 53:20 Shogun S1 Ep 8&9 Discussion (SPOILERS) 1:28:37 Wrap Up Check out our friends:  @TrackMouse34    @mjhoneybeegames9437  Peter J. Gilbertson's books at Amazon.com --- Support this podcast: https://podcasters.spotify.com/pod/show/popcastrocks/support

In this episode, Liz and Elias talk with Edgar, Rhys, Bodi, and David, C2C's digital, audio, visual, and social media producers, about our work. We discuss how our storytelling engages critically with context and how we hold the responsibility of telling the story of the movement. Music from the episode:Dark Eyes by Lila DownsRejoice by AJJSupport the Show.

Rencontre avec Philippe Soares Salgado, pionnier du Frissons Festival et créateur de The Dark Eyes. Aujourd'hui, j'ouvre le salon du manoir à Philippe Soares Salgado, la tête bien faite qui se cache derrière le Frissons Festival (premier festival littéraire dédié à l'horreur et au paranormal). Je vous entraîne en plongée dans le monde de Philippe. Ensemble on découvre comment il est tombé amoureux des films d'horreur dès son plus jeune âge, a créé son personnage énigmatique, The Dark Eyes, et a finalement lancé sa propre marque de vêtements liée à cet univers. On discute aussi de la réalisation d'un court métrage, des défis rencontrés et des projets futurs, y compris un long métrage en préparation. Cet épisode a été réalisé par Elena de BasedeSon.com que je remercie chaleureusement. Tout l'univers de Philippe Soares-Salgado : https://www.frissons-festival.com/ https://www.instagram.com/thedarkeyes_wear/ https://www.facebook.com/profile.php?id=61550313148973 Pour aller plus loin : Court-métrage The Dark Eyes : https://www.youtube.com/watch?v=T-zesz2QK90 Pandaemonium de Brandon Gotto : https://www.youtube.com/watch?v=ARbcjy97DPg

hosted by Ernie whitman. Playlist: Billy Ebstien plays, Airmail Special. The Gene Kroopa Trio are onboard to play, Dark Eyes. followed by, My Blue Heaven. Sarah Vaughn joins Ernie for…

With special guest: Jeff Apter… in conversation with Bill Kable Everyone remembers Jon English with those raccoon eyes and tall thin frame contributing to a very distinctive appearance. Jon English had regular appearances in so many different forms of entertainment. He was a rock singer, a star of live musicals, a romantic star of acclaimed television series, and at all times a rascal. In between those activities he wrote sensitive music and became an entrepreneur. But there was a lot more to his fascinating story as revealed by our guest today. Jeff Apter wrote Behind Dark Eyes: The True Story of Jon English. It is the subtitle of the book which gives a clue that all was not sunshine and roses for Jon English. Podcast (mp3)

This week on The Sound Kitchen you'll hear the answer to the question about the presidential candidates in the Democratic Republic of Congo. There's “The Listener's Corner” with Paul Myers, Ollia Horton's “Happy Moment”, loads of great music, and of course, the new quiz question, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our team of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English – that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. NB: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognised RFI English club, go to the Facebook link above, and fill out the questionnaire!!!!! If you do not answer the questions, I click “Decline”.There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 25 November, I asked you a question about the presidential elections in the Democratic Republic of Congo. In RFI English journalist Melissa Chemam's article “DRC opposition leader Moïse Katumbi officially launches presidential campaign”, she wrote about how many candidates were in the field; among them was a Nobel Peace Prize laureate. You were to tell me his name, the year he won the Peace Prize, as well as why he was awarded the prize.The answer is, to quote Melissa's article: “In total, 25 candidates are in the running including renowned surgical gynaecologist Denis Mukwege, who was awarded the 2018 Nobel Peace Prize for his effort to end sexual violence.”To bring you up-to-date: provisional results released by the country's electoral commission Ceni on 31 December gave incumbent president Felix Tshisekedi more than 73 percent of the vote, with opposition leader Moise Katumbi next in votes, with about 18 percent.  Denis Mukwege, along with the remaining 20 candidates, were either around or under 1 percent.In addition to the quiz question, there was the bonus question, suggested by Morium Nessa Momo from Bogura, Bangladesh: “How can one be easily happy?”Do you have a bonus question idea? Send it to us!The winners are: RFI English listener Rodrigo Hunrichse from Ciudad de Concepción in Chile, who is also the winner of this week's bonus question. Congratulations, Rodrigo!Also on the list of lucky winners this week is a new member of the RFI Surfers Society Bangladesh in Rajshahi, Bangladesh: Shrabonty Shermin. Welcome Shrabonty!There's also Riaz Ahmad Khan, the president of the RFI Listeners Club in Sheikhupura City, Pakistan, and Bezazel Ferhat, the president of the RFI Butterflies Club Ain Kechera in Ain Kechera, Algeria.Last but not least, RFI English listener Santa Khanam from the Friends Radio Club in Naogaon, Bangladesh.Congratulations winners!Here's the music you heard on this week's programme:  “Je cherche après Titine” and “Dark Eyes”, traditional Manouche music arranged by Leo Daniderff and performed by Opa Tsupa; "You Do Something to Me" by Cole Porter, sung by Marlene Dietrich; “Valencia” from Escales by Jacques Ibert, performed by Charles Dutoit and the Montreal Symphony Orchestra; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer; “Happy” by Pharrell Williams, and “Movin' On” by Carleen Anderson and Marco Nelson, performed by Young Disciples.This week's question ... you must listen to the show to participate.  After you've listened to the show, read our article “Belgium faces election juggling act as it takes over rotating EU presidency” to help you with the answer.You have until 29 January to enter this week's quiz; the winners will be announced on the 3 February podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here. 

Danger digs out an album from the past. Dark Eyes is the first full studio album from the indie rock outfit that is north of the boarder, and mostly south of our current taste, Half Moon Run. The single "Full Circle" reached number 29 on the Canadian rock/alternative chart in 2012 and didn't do much else. Lets talk about why. Danger brings an album to the breakfast table that he used to love. Does he still love it? Does it hold up? Will Monster love it, hate it or REALLY hate it? Here's a list of out of context quotes to hopefully perk your intrest: -Are you mad at me? -Kinda like the Cuban missile crisis. -Great is a strong word. -KAREN! -They want to punish me for having a good time. -You have a downer feeling to me. Give it a listen and let us know what you think!

Welcome to Season 03 Episode 05 - the "Veterans" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include Mr. Todd Langworthy, Town of Pomfret Historian, who will present "Veterans of Pomfret Past" as part of the Chautauqua County Historical Lecture Series; Ms. Cathy Fink, who with Marcy Marxer and Chao Tian will present "From China to Appalachia," and Mr. Tim Kennedy, Artistic Director Emeritus of Buffalo Opera Unlimited, who discusses the Live at the Met presentation of X: The Autobiography of Malcolm X. Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps: Todd Langworthy - 02:11 Cathy Fink - 17:48 Arts Calendar - 33:40 Tim Kennedy - 36:07 Media: "Taps Bugle Call", performed by the US Army Band, composed by Brig. Gen. Daniel Butterfield, July 1862 "Battle Hymn of the Republic", lyrics by Julia Ward Howe, William Steffe, musical arranger, 1862 "August Flower", traditional Chinese melody; performed by Cathy Fink, Marcy Marxer, and Chao Tian; May 2022 "Dark Eyes", Yevhen Hrebinka, lyrics; music adapted from the "Valse Hommage, Opus 21 for Piano" by Florian Hermann, 1879. Performed by Cathy Fink, Marcy Marxer and Chao Tian, March 2022 "Play the Game", excerpt from X: The Autobiography of Malcolm X, performed by Anthony Davis (composer), from a performance at the National Opera America Center, October 2012. "We're Not Askin' Massa to sit at a lunch counter"; excerpt from the Metropolitan Opera production of X: The Autobiography of Malcolm X; Anthony Davis, composer; Christopher Davis, story; Tulani Davis, libretto; performed by Will Liverman, baritone, as Malcolm X. Artist Links: Todd Langworthy Cathy Fink Tim Kennedy      

I had invited Half Moon Run onto the podcast after first hearing Salt - imploring their BMG PR to arrange it as a matter of priority. Speaking with Dylan Phillips was an insight behind the creative process of the (decades long) making of one of my favourite records in ages. Also, I had never spoken to a drummer who is simultaneously a keyboard player, but that is part of the modus operandi of Half Moon Run - a continual swapping out switching up of instruments between the band's three members, Phillips, Devon Portielje (also lead vocals) and Conner Molander. Half Moon Run was formed over a decade ago, originally as a four piece (with Isaac Symonds). The band's 2012 debut album Dark Eyes was a well received and exciting addition to the indie-rock canon. But now four albums into their 14 year career, their 2023 release Salt really is something else. It is the sound of a band finding a different level. The band itself knows it too:“It's the first time we felt unanimously that we were fully happy with the work we did on a record”.So how does a band with no hits to speak of (Full Circle is the nearest thing, approaching 50M streams on Spotify), albums that don't chart and a virtually unrecognisable name make a viable living after a decade in the game? Being brilliant appears to be the answer, mostly. Work as hard on your songs and performance as Half Moon Run does, and enough fans will follow you to the ends of the earth. Or at least from city to city. Making an excellent album certainly helps. Salt is the complete work, a perfect album - as close as this band has come to a masterpiece, even if it will not chart or feature on many (if any?) critics best of lists. “We had done this little project called the 1969 Collective, with Connor Sidell and we called him to see if he was interested in making a new full length record. He was, so we put all cards on the table - opened the books on everything we've ever done. Even if we'd failed with some of the songs before, maybe we could succeed this time around. We went from 80s songs to 24 and then brought it down to 11 songs for the album. A lot of the songs were a gift from ourselves, songs we'd had been trying out for a long time”. So, once a special record has been made - surely it deserves a wider audience? Or, as I prefer to say about Salt - lot's of people deserve to hear this record. Is the band itself happy with their modest level of success?“I'm super grateful that we are making this work. It's tough though, especially when it's hard to make a tour just about break even. When you want to make a good production of it”. Perhaps Half Moon Run will keep running purely on the strength and passion of the band's existing fanbase. It's those fans that are frustrated about the band's relative lack of recognition. It isn't enough to just make it out of Canada (a theme that may emerge in the current season of TAoL if you follow the podcast episodes). But that is the modern music industry. The very best music doesn't always naturally rise to the top. Salt may not be on the 2023 ‘best of' lists simply because the compilers of those lists will have missed it in the glut of music albums that come week-on-week. Yet It stands up as a modern indie-pop/rock classic by a band with real promise. (full write up on https://www.songsommelier.com/)Support the showGet more related content at: https://www.songsommelier.com/

Luke 8:26-39.  In this homily on Christ's exorcism of the demon (Legion) of Gardenes, Fr. Anthony notes that a dark eye exagerates the danger of storms, graveyards, and demons and encourages us to trust in the God who 1) loves us and 2) has command over all of creation.

En février 2023, H-Burns sortait son nouvel album Sunset Park sur le label Yotanka. Renaud Brustlein (de son vrai nom) est aussi propriétaire de la cave à vins & bar Harvest à Grenoble. En vrai passionné de vins naturels et à l'occasion de cet album, une collaboration est née avec le vigneron auvergnat Patrick Bouju. L'album est magnifique et a été enregistré avec David Chalmin et Benjamin Lanz, qui intervient sur les cuivres, collaborateurs de longue date de The National. Dominique A intervient également sur le titre Dark Eyes. Le 8 juin 2023 avait lieu un concert suivi d'une dégustation à la Maroquinerie. Etienne Rios de Diego a tenu les micros de RadioVino qui le remercie. +++++ Interview : Etienne Rios de Diego Montage : Laurent Le Coustumer Musique : H-Burns, Sunset Park

Half Moon Run are a band based in Montreal, Canada. They released their debut album, Dark Eyes, in 2013, and quickly gained fans both locally & internationally. Throughout the pandemic, they found themselves digging through cassettes from that time period, revisiting these ideas with fresh perspective. The result is is their fourth album Salt: a musical conversation between past and present, exploring all that has changed and all that remains. Learn more about your ad choices. Visit megaphone.fm/adchoices

در این قسمت پادکست مترونوم درباره ترانه مشهور روسی  اوچی چورنیه یا چشمان سیاه صحبت می‌کنیم و تاریخچه ساخته شدن  آن و بازخوانی های مختلفش را در روسیه و سایرنقاط جهان بررسی می کنیم و همچنین به داستان سروده شدن شعر گیلکی آن  توسط جهانگیر سرتیپ‌پور و استفاده از آن در فیلم  « دردنیای تو ساعت چند است» خواهیم پرداخت. همچنین گفتگوی  اختصاصی داریم با جناب روزبه رخشا به مناسبت بازخوانی این ترانه در فیلم.   حمایت مالی از مترونوم در داخل ایران حمایت مالی از مترونوم در خارج ایران     :منابع استفاده شده در این قسمت کتاب اوخان، مجموعه آثار جهانگیر سرتیپ‌پور  

To learn more about working with me and to get a free call and digestion training, go to: www.bit.ly/gutcall Or, call us now at 586-685-2222

Songs include: Them There Eyes, Green Eyes, Smoke Gets In Your Eyes, Teardrops From My Eyes, Dark Eyes and Why Do You Want to Make Those Eyes At Me For? Performers include: Vincent Lopez, Bob Crosby, Billie Holiday, Jimmy Dorsey, Betty Hutton, Patti Page, Bing Crosby and Artie Shaw.

“With UnPrisoned and with really my whole body of work as a producer, I'm really drawn to stories that make people feel seen that take issues that have stigma and shame attached to them, and making those issues just more palatable and more human. And few people realize that 50% of American families are touched by incarceration. And when you meet someone like Tracy McMillan, who really is a miracle, this is a woman who's now in her fifties who grew up in 22 different foster homes because her father was incarcerated when she was so little. And yet for all of his mistakes, the fact that he was a career criminal, he still, when he could change her diapers, he was present when he could be there. He braided her hair, and there was real love there. But they were separated not only by his mistakes, but by a system that is really unforgiving and really unfair, especially to black and brown men. So, the idea that we could tell a story where a young woman who was raised that way and by that person turns out to be Kerry Washington. You know, turns out to be somebody who you want to be, turns out to be Olivia Pope, this woman that we all see as so beautiful and such a hero and so strong and so powerful, I felt was just an incredible opportunity. And when we first put Tracy and Kerry in the same room, Kerry said to Tracy, 'You know you're a miracle, right?'And I don't think it really hit Tracy before that moment. When you really look at the data, when you look at the foster-to-prison pipeline, over 80% of males who age out of foster care end up incarcerated. So there are two broken systems that work hand in hand here. And we had the opportunity of a real success story.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I'm big on if you ban a book that kids love, I'm probably going to come and adapt it. I'm probably going to come after it because adults fail children all the time. Because we are afraid of their feelings. We are afraid of what they can get themselves into until it's too late. And we're avoidant as a culture with them. And we've also left them a pretty screwed-up world where they're living in a terrible state of anxiety. They've got lockdown drills in kindergarten. They don't know if a gunman is going to walk into their school. And they've got so many images coming at them. good and bad.There's a lot of good that comes from TikTok and YouTube as well. It's just we're still in the beta phase of knowing. iPhones only came out in 2007. We're still figuring out truly how it's going to affect our brain development. So I think that 13 Reasons Why came at a time when we had all been really concerned about mental health. Brian Yorkey is my dear friend. We went to college together. Brian and Tom Kitt wrote Next to Normal, which was the very first Broadway show that dealt with mental health and mental illness. I had a grandmother who was bipolar and institutionalized, and when Brian told me when we were like 21 years old that he was writing a musical about electro-shock therapy, I was like, great idea! 10, 12 years later, and many iterations and workshops later with Tom and Brian, the show went to Broadway and got the Pulitzer and 11 Tony nominations, and it was groundbreaking. And it was before you could put Broadway on YouTube. And we were the first Broadway show on Twitter, nobody even had Twitter. I remember signing up for Twitter because I had to follow the Next to Normal tweets. So we were always ahead of the mental health conversation among teenagers and parents and trying to break the silence in a way.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“With UnPrisoned and with really my whole body of work as a producer, I'm really drawn to stories that make people feel seen that take issues that have stigma and shame attached to them, and making those issues just more palatable and more human. And few people realize that 50% of American families are touched by incarceration. And when you meet someone like Tracy McMillan, who really is a miracle, this is a woman who's now in her fifties who grew up in 22 different foster homes because her father was incarcerated when she was so little. And yet for all of his mistakes, the fact that he was a career criminal, he still, when he could change her diapers, he was present when he could be there. He braided her hair, and there was real love there. But they were separated not only by his mistakes, but by a system that is really unforgiving and really unfair, especially to black and brown men. So, the idea that we could tell a story where a young woman who was raised that way and by that person turns out to be Kerry Washington. You know, turns out to be somebody who you want to be, turns out to be Olivia Pope, this woman that we all see as so beautiful and such a hero and so strong and so powerful, I felt was just an incredible opportunity. And when we first put Tracy and Kerry in the same room, Kerry said to Tracy, 'You know you're a miracle, right?'And I don't think it really hit Tracy before that moment. When you really look at the data, when you look at the foster-to-prison pipeline, over 80% of males who age out of foster care end up incarcerated. So there are two broken systems that work hand in hand here. And we had the opportunity of a real success story.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I watched things with my grandparents, and I read books with my grandmother. And my mother was obsessed with Sondheim and Neil Simon, and she took me to standing-room-only Broadway shows for $5. And she held me during A Chorus Line. So the lyrics I was singing when I was four years old were very inappropriate. We did community theater, and my mom had this incredible network of gorgeous gay men who would drink coffee and eat biscotti and listen to show tunes in my tiny one-bedroom apartment.I think that I was surrounded by storytellers and hams and charming, charismatic people who sang beautifully. I still can hear my mom's friend Bobby Cipolla's voice. I hear him playing the leading player in Pippin in our community theater production of Pippin, and my sisters and I all sang. So we were very theatrical for a bunch of girls who shared a couple of bedrooms in an apartment in Yonkers.But my mother also just always showed us how New York City was only 10 miles away, and like greatness was attainable. And you can do fabulous, cool, fun things. You didn't have to be rich to do them. And she would walk me around the Columbia campus and the Metropolitan Museum of Art, and we would go to the nosebleed seats to the ballet. And so I think the storytelling came from a combination of that exposure to the arts and closeness to New York City.Brian Yorkey is my dear friend. We went to college together. Brian and Tom Kitt wrote Next to Normal, which was the very first Broadway show that dealt with mental health and mental illness. I had a grandmother who was bipolar and institutionalized, and when Brian told me when we were like 21 years old that he was writing a musical about electro-shock therapy, I was like, great idea! 10, 12 years later, and many iterations and workshops later with Tom and Brian, the show went to Broadway and got the Pulitzer and 11 Tony nominations, and it was groundbreaking.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“And you see these kids who are put away at 12 and 13 years old. I mean, what is the path for that child, rejected by your family, rejected by your community? There's so little hope there. And so I became drawn to stories of hope of men who were in that situation.My friend Chris Wilson, I helped him sell a book called The Master Plan. He was put away for murder when he was 16 years old. And he was in prison for life, and he wrote a bucket list. He wrote a master plan when he was 18 about what he was going to try to achieve. And he was one of those exceptional stories. And he's now a really successful artist and entrepreneur who spends most of his time giving back to the community and hiring other reentering citizens. Our friend Louis Reed, who consulted on Delroy Lindo's character, Louis is a senior director for Van Jones' Dream Corps, and he was 15 years incarcerated. And I see these people who had made one mistake, and usually it was to survive in whatever situation they were born into. And the folks who are these exceptional stories, who turn it around in such an unbelievable way that they can then coach and help 650,000 other people. With Louis, our consultant who helped Delroy with his character, he has worked on so much policy change with Van Jones with Cut50 and Reform Alliance, and you can't even quantify the amount of work that still needs to be done. But that has been done by the gentlemen who survived the system and devoted themselves to redemption and giving back to the community.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“With UnPrisoned and with really my whole body of work as a producer, I'm really drawn to stories that make people feel seen that take issues that have stigma and shame attached to them, and making those issues just more palatable and more human. And few people realize that 50% of American families are touched by incarceration. And when you meet someone like Tracy McMillan, who really is a miracle, this is a woman who's now in her fifties who grew up in 22 different foster homes because her father was incarcerated when she was so little. And yet for all of his mistakes, the fact that he was a career criminal, he still, when he could change her diapers, he was present when he could be there. He braided her hair, and there was real love there. But they were separated not only by his mistakes, but by a system that is really unforgiving and really unfair, especially to black and brown men. So, the idea that we could tell a story where a young woman who was raised that way and by that person turns out to be Kerry Washington. You know, turns out to be somebody who you want to be, turns out to be Olivia Pope, this woman that we all see as so beautiful and such a hero and so strong and so powerful, I felt was just an incredible opportunity. And when we first put Tracy and Kerry in the same room, Kerry said to Tracy, 'You know you're a miracle, right?'And I don't think it really hit Tracy before that moment. When you really look at the data, when you look at the foster-to-prison pipeline, over 80% of males who age out of foster care end up incarcerated. So there are two broken systems that work hand in hand here. And we had the opportunity of a real success story.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I watched things with my grandparents, and I read books with my grandmother. And my mother was obsessed with Sondheim and Neil Simon, and she took me to standing-room-only Broadway shows for $5. And she held me during A Chorus Line. So the lyrics I was singing when I was four years old were very inappropriate. We did community theater, and my mom had this incredible network of gorgeous gay men who would drink coffee and eat biscotti and listen to show tunes in my tiny one-bedroom apartment.I think that I was surrounded by storytellers and hams and charming, charismatic people who sang beautifully. I still can hear my mom's friend Bobby Cipolla's voice. I hear him playing the leading player in Pippin in our community theater production of Pippin, and my sisters and I all sang. So we were very theatrical for a bunch of girls who shared a couple of bedrooms in an apartment in Yonkers.But my mother also just always showed us how New York City was only 10 miles away, and like greatness was attainable. And you can do fabulous, cool, fun things. You didn't have to be rich to do them. And she would walk me around the Columbia campus and the Metropolitan Museum of Art, and we would go to the nosebleed seats to the ballet. And so I think the storytelling came from a combination of that exposure to the arts and closeness to New York City.Brian Yorkey is my dear friend. We went to college together. Brian and Tom Kitt wrote Next to Normal, which was the very first Broadway show that dealt with mental health and mental illness. I had a grandmother who was bipolar and institutionalized, and when Brian told me when we were like 21 years old that he was writing a musical about electro-shock therapy, I was like, great idea! 10, 12 years later, and many iterations and workshops later with Tom and Brian, the show went to Broadway and got the Pulitzer and 11 Tony nominations, and it was groundbreaking.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“And you see these kids who are put away at 12 and 13 years old. I mean, what is the path for that child, rejected by your family, rejected by your community? There's so little hope there. And so I became drawn to stories of hope of men who were in that situation.My friend Chris Wilson, I helped him sell a book called The Master Plan. He was put away for murder when he was 16 years old. And he was in prison for life, and he wrote a bucket list. He wrote a master plan when he was 18 about what he was going to try to achieve. And he was one of those exceptional stories. And he's now a really successful artist and entrepreneur who spends most of his time giving back to the community and hiring other reentering citizens. Our friend Louis Reed, who consulted on Delroy Lindo's character, Louis is a senior director for Van Jones' Dream Corps, and he was 15 years incarcerated. And I see these people who had made one mistake, and usually it was to survive in whatever situation they were born into. And the folks who are these exceptional stories, who turn it around in such an unbelievable way that they can then coach and help 650,000 other people. With Louis, our consultant who helped Delroy with his character, he has worked on so much policy change with Van Jones with Cut50 and Reform Alliance, and you can't even quantify the amount of work that still needs to be done. But that has been done by the gentlemen who survived the system and devoted themselves to redemption and giving back to the community.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA's Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She's accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

California Melodies aired on April 4, 1941 over Mutual Radio as episode 055 Song Of Islands with David Rose and his Orchestra. Vocalist Maxine Gray. Featuring Song of the Islands, Talking the Wind, Twist of the Wrist (with Maxine Gray), Rustle of Spring, La Cumparsa, Come Back to Me Now (with Maxine Gray) and Dark Eyes.

Ian is joined by academic and writer Dr Adrian Smith and Krimi afficionado Holger Hasse to discuss the work of Edgar Wallace on screen. While a single podcast episode can in no way do justice to the sheer volume of adaptations of his work we cover three very different films that highlight the huge influence Wallace had on screen. Edgar Wallace (1875-1932) was a prolific British writer. With 170 novels and 957 short styories his works have been adapted over 160 times for the big screen. Numerous adaptations for TV have also been produced. He continues to be credited today for his work on King Kong!The Dark Eyes of London aka The Human Monster (1939). Directed by Walter Summers. Based on the novel The Dark Eyes of London by Edgar Wallace. Starring Bela Lugosi, Hugh Williams and Greta Gynt. Der Hexer aka The Mysterious Magician (1964). Directed by Alfred Vohrer. From the Edgar Wallace novel The Ringer. Starring Joachim Fuchsberger, Heinz Drache and Sophie Hardy. Five Golden Dragons (1967). Directed by Jeremy Summers. Based on characters created by Edgar Wallace. Starring Robert Cummings, Margaret Lee, Klaus Kinski and Christopher Lee. Follow Cult Connections on Twitter @ConnectionsCult

During the third week of his Light or Dark series, Pastor Michael speaks on Jesus breaking our dependency on the systems of man. Check out our website for announcements, sign-ups, and important information! Watch our live streams, listen to our worship moments, and our teachings on our YouTube channel! Take a peek at our pictures from Sunday mornings, announcements, worship moments, and teaching clips on our Facebook page! Visit our Instagram to see teaching quotes, and weekly updates on what's going on with our family! If you would like to stay connected to what's happening at Redemption Life Church, fill out our Connect Card! If you would like to give, click here! If you need prayer, click here!

Acomi and Turk182 decide that their bored with the complexities that come with have mental and physical relations with living, breathing women and explore the supernatural hook-up scene, just like in Demon Rage (1982). Also known as Satan's Mistress, Demon Seed, Dark Eyes, and Fury of the Succubus. When her husband refuses to have sex with her cause "he's working on a big project", a frustrated woman succumbs to the advances of a "sexy" spirit from the other side. Letting the demon have her in ways she'd never consider with her husband, the lonely wife and mother alienates herself from her family for some boot knocking, springs popping, headboard rocking, pillow biting, rough trade. But, when the husbands suspicions of someone else parking their car in his garage leads to murder, he must fight to save his wife's libido from HELL. Join Acomi and Turk as they break out the Oh-EyeJah board and fill out their ghostly dating applications. Be warned: The Demon Rage hidden behind the Dark Eyes of Satan's Mistress can unleash the Fury of the Succubus and leave you drowning in Demon Seed. Acomi and Turk182, along the occasional special guest, provide running commentary of awfulsome movie and TV shows. The hosts select movies that either one, or both, have never seen. All jokes and comments are improvised. NO PREPARED JOKES OR COMMENTS! During recording, the movies are watched at a low volume and with the subtitles on. Viewers may want to turn subtitles on as well to enhance the viewing experience. So, cue up the audio, ready the movie, and hit play when we say so. Note: This video is the commentary recorded by Acomi and Turk182, and selected screenshots. It is NOT a viewable copy of the film. The commentary can be enjoyed on its own, but if you want to experience the Let's Watch in all its glory, you'll need your own copy of the movie. Most of the movies viewed can be streamed online for free. #OMTWF #KorovaEntertainment #LetsWatch #LW #Acomi #Turk182 #awfulsome #DemonRage Follow Acomi on Twitter at @AcomiDraws and on Instagram at AcomiDraws. Follow Turk182 on Twitter at @Turk182_KE and on Instagram at Turk182_KE.

The RHS Chelsea Flower Show is one of the greatest flower shows on earth and a highlight of the horticultural calendar. Here on Talking Dirty we get just as excited about it as everybody else and - as you'd expect - we've been lapping up all the plants and combinations!  So, fresh from Main Avenue and the Great Pavilion, Alan Gray (East Ruston Old Vicarage) and Thordis are here to share their favourites from across the show. And, as you can see from the plant list, there was plenty to catch their eyes! #rhschelsea #chelseaflowershow #gardendesign PLANT LIST x Semponium 'Destiny' Aeonium 'Sunburst' Aeonium 'Kiwi' Aeonium 'Schwarzkopf' x Semponium 'Sienna' Agave univittata 'Quadricolor' Agave victoriae-reginae Aeonium 'Green Tea' Aeonium tabuliforme Clivia miniata 'Steve's Pastel Green Throat' Clivia miniata 'Hirao' Petunia exserta Begonia sutherlandii 'Saunder's Legacy' Begonia 'Regal Minuet' Begonia 'Namur'  Begonia 'Helter Skelter' Streptocarpus saxorum Nasturtium 'Baby Rose' Hosta 'Wheee!'Hosta 'Empress Wu' Hedera helix 'Pink 'n' Curly' Delphinium elatum 'Ruby Wedding' Primula japonica 'Miller's Crimson' Adiantum aleuticum 'Imbricatum'  Iris 'Mrs Alan Gray'  Selaginella kraussiana Soleirolia soleirolii Blechnum chilense Podophyllum 'Spotty Dotty' Anemone leveillei Cercis siliquastrum Lamium orvala Digitalis 'Glory of Roundway' Acer davidii  Lychnis fos-cuculi ‘Alba' Rosa glauca Baptisia ‘Twilight' Baptisia ‘Purple Smoke' Baptisia ‘Dutch Chocolate' Leucanthemum vulgare Euphorbia palustris Smyrnium perfoliatum Nicotiana langsdorffii Campanula patula Verbena 'Bampton' Acaena microphylla Stipa gigantea Eschscholzia californica 'Ivory Castle' Salvia 'Violette De Loire' Salvia 'Royal Bumble' Eschscholzia californica 'Thai Silk' Series Papaver somniferum 'Lauren's Grape' Gladiolus communis subsp. byzantinus Echium ‘Red Feather' Bupleurum longifolium 'Aureum' Centranthus ruber var. coccineus Centaurea 'Jordy' Rose 'Dusky Maiden' Rosa 'Jacqueline du Pré' Anchusa 'Loddon Royalist' Geum 'Mai Tai' Iris 'Blue Rhythm' Salvia nemorosa ‘Crystal Blue' Salvia nemorosa 'Blue Hills' Aquilegia 'Ruby Port' Briza media Briza media 'Limouzi' Peony 'Dark Eyes' Cosmos bipinnatus 'Rubenza' Verbascum 'Petra' Camassia leichtlinii 'Alba' Luzula nivea Amsonia tabernaemontana 'Storm Cloud' Galactites tomentosa Galactites tomentosa 'Alba' Parrotia persica Centaurea 'Purple Heart' Lupinus 'Masterpiece' Gladiolus colvillei 'The Bride' Prunus lusitanica 

Hello? Hello, this is your host Caroline Schafer. And today I have a very, very interesting guest. Her name is Carin Andresen and her company is Face Yoga New Zealand, and she is a facial yoga wellness coach. How cool is that? I have never heard of. But being a woman in her middle ages here, I think this is a perfect idea and it makes a lot of logical sense to me. So welcome, Karen. I'm so excited to have you here today. This is going to be so fun, so different. I've never seen anything like this, so thank you for being here and please tell us your story, how you got into facial yoga and, and a little detail about. Thank you so much, Caroline, for having me. And it's really exciting to share my story with you.  When I was younger, I was always interested in beauty and health.  So I grew up in a small village north of Germany and it was kind of unheard of, and I needed to get out of there. So I went to Milan and did some modeling when I was about 18. And discovered the whole beauty industry. There were a lot of products that were pretty harsh on my skin and they didn't agree with me so well. And so I just kind of started having those problems. So I started developing range and wanted to be really kind of to my skin. As I grew older, I went to south India and I discovered Ayurveda. Which I totally fell in love with and a little bit more spiritual and overall yoga and wellbeing. And I think then with COVID  when we were locked down, there was a lot of soul searching, a lot of thinking, what can I do with my life? How can I help people? How can I move forward? So I just came across facial yoga. And to be honest, when I first discovered it, I. Laughter did not thought of maybe just people pulling some exercises, how's that actually working, how can they possibly make a difference? Right. But the more I got into it, the more I read about it, the more it made sense. I mean, we often serve busy to exercise our body and we forget about the face, you know, and we've got around 57 facial muscles. They're either overused or underused. And as we get older, you know, with gravity, everything is pulling down and it's often a muscle that we don't use enough. So I just explored it. And then I love the thing that it's a lot of breath work. It's mindfulness, affirmation. So in the whole routine only does take about 10 to 15 minutes per day. It's really easy way of integrating into your life. So, yeah, I absolutely fell in love with it. I did my course, then I was a little bit shy because I've had not much online experience. So I practice on friends and then I thought, right, I need to go out to the world and New Zealand, a lot of new people in New Zealand. I've never heard about it. So I'm returning to New Zealand. Perfect opportunity. Absolutely. Absolutely. And I, and I love that it doesn't take long. And I know we've talked before and we discussed one thing that I just love, and that was, um, piggyback habits. And you had suggested that, you know, you don't have to add it to your day. It can, it can be merged into something you're already doing. Can you explain that a little more? Absolutely. Well, we all need to go to the bathroom for example, several times a day. So why are we in the bathroom? We can actually, we look in the mirror, we do our hair and after we wash our hands, you can actually do a few exercises. They are, and then while you're in the car, you know, you can pull a few, but probably other people will look at you and think that's a bit strange, but that's right. You'll be looking better than them in a few years. Anyway. That's right. So, yeah, and that's what I love about it. I mean, I do it often, first thing in the morning, because personally, before I even get out of bed, I like to have it out of the way. That's the other beautiful thing. You can actually do it while you're lying down. You don't need to sit upright to do the. Okay. So, um, yeah, it just, and as I say, because it's 10 to 15 minutes, right. Just easily be done. I love that idea. I'm all about using your time? Well, another thing like when people are watching TV and there's a commercial, that's a perfect time for you. And do your facial yoga or, you know, maybe I'm half-time at a sporting event, go to the restroom, go to the car and get it done. It's important. I think it's a great idea. It's funny. I got my hair cut once from this guy who was actually a model photographer. And I learned something. Then he actually took a couple pictures of me when we were done and I raised my eyebrows and scrunched my forehead up. And I never knew I did that, which over years of doing that, you know, that mannerism, that's terrible for your skin. So, I became conscious of it. And you're only conscious about things when you learn about them. Right. So tell us. A little bit, like how do you teach this as an classes at one on one? Is it online? At the moment. I like to do it online on a one-to-one and I like to teach it to give you a personal program, especially for your needs and what you want and the exercises that work really well for you. So I demonstrate them basically. You repeat them. I don't make it very complicated. Very simple. You record the session we are doing, so you can watch it later on. You do have it for life. So I start with about five exercises and then every time over month, we meet weekly one or two on and at the end. I asked you to demonstrate them all back to me. And if there are any problems, any adjustment, if you want to replace some exercises, that's absolutely fine. So you are totally happy with it. You liked the exercises, so therefore you will do, on a daily basis. So my aim and my goal is for every client that I teach, that they will do it basically for the rest of their lives. So that's awesome. And I, I really think it's great that you want to implement things that they'd like, because if you'd, like you said, you're not going to do it. If you don't like it, like, I don't know. If running is the best exercise in the world. If you hate to run, then, then that is not good for you. That is not a good choice because it will not work in your world. And also I love the quality control concept where they do it in front of you, because a lot of people just aren't very detailed and they just miss a lot of components. So I think that's super, super smart. Um, so that people are getting it right. Right. Cause your face is not that big. It's not like you're moving in the arm where you can see a big movement there. So it's a small thing. Absolutely. And often, you know, when you've got it on the air, it's demonstrated, you can see it all very well, but you don't know the pressure. So the other day, for example, I had a client, we did it for the first time around the mouth area. She put far too much pressure on. So later on, she kind of said to me, how did I do it? It kind of didn't feel right, so I can adjust it and I can explain. You know, and the skin around the mouth, it's very thin, very delicate. You don't need to use a lot of pressure. It's the same around the eyes, you know, you do it Featherlight and so, yeah. That's probably true. I know I'm, I'm not the most gentle thing in the world. And I know around your face that light pressure is always a good thing like around your eyes and you're not to scrub, scrub . Your skin around your eyes is the thinnest skin or something. So, yeah, definitely under your eyes. That's why you call it off. Now we say use the ring finger because you have less pressure the ring finger and, and work with that. Yeah. Should I say, and the same thing with applying makeup it's same, the same principle. I know you were a model at one point, so I'm sure you have plenty of experience with that. Tell us a little bit about the breath work. Cause I, I. I don't feel like people know the value of, of breathing correctly. I taped my mouth at night. I know my own fear familiar with that, but it is an amazing thing, what it does chemically to your body. And when people do it to children who are little, it can remove the need for orthodontic work. Like it's an it change. You can change your nose shape, it can change your jaw. It's insane. Like the more research you do it, and it sounds like utterly crazy when you say tape your mouth, but it is true. So breathing and how you get your oxygen. And it all is very, very important. Uh, totally. Um, and we all don't breathe correctly. Very few of us because we get so busy, we forget about our breath. And so I like to start every session, um, close your eyes. And take a few deep breaths in and out through your nose, because if you close your eyes and then you aware what's really going on inside of you and you are in the now and you cut the outside world out. And that's really important because often when I start at the lower part of the face, I start with shoulder rolls and with the neck. And if you, if you're not in the now, and if you're not aware of your breath, you can hurt yourself. You do too much use, you're busy, you're stressed you, and this is not the right thing to do. So, um, as I say, that's this kind of, and it's positive thoughts. Aging habits, it's lifestyle. So I try to integrate everything you get the most out of it. My most benefits. Absolutely. And if anybody knows a little hesitant about this, watch a newborn baby breathe, look at their stomach and they breathe their stomach's going in and out because they're breathing correctly. Then look at a three-year-old. They're not doing that anymore. Somehow they've learned the bad behavior of how to breathe incorrectly. And they're now doing shallow breaths through their chest, which is really sad. So then we all have to relearn how we were born we were breathing was correct. And you said something too about the thoughts, like affirmations, you have to think about what you're thinking about because beauty actually does come from the inside out and I know that. I took a picture in a car once and I had a good thought going through my, my mind. And I took this picture and I have so many people liked it. And I was like, wow, that's so odd. And then I realized why, and I think it was an inner thoughts spurred the genuine happiness that I was feeling. Um, and that was visible. And, and that's what was getting commented on. So I think it's very interesting thoughts really do matter. Um, and they are reflected on the outside. Could you show us maybe something, maybe one little tidbit on something facial yoga that everybody? Sure. So,  often when you've mentioned before about the forehead, you know, the front end of the semester, we keep so much tension in there. So we get tension headaches. As you say, we raised our eyebrows, we create lines and wrinkles. So, um, I love just simply by tapping on your forehead. So just use your finger and just tap and close your eyes. So that brings the circulation and blood flow into the skin. So it's just something really basic, but so effective exercise. And you can so do this on the party. So do this at the traffic light or in the middle of absolutely. And you can do it all over the face. You know, you start basically from your, for it, and then you just go down and your face it light underneath your eyes. Use your ring finger, and then just all go down and, and just lift up your head a little bit. So when you lift up your hands, Already you stretch the front of the mouth. I mean, we spent so much time looking down, our posture's become so bad and you can actually do that with Patriot. It's a lot about posture. We don't pay enough attention of sitting up right. And, you know, shoulders down and looking up and then you can, we can just do slightly with our fingertips. Um, just slide around here. And just close your eyes and just feel a sensation, you know? Um, yeah, you basically ironing out your wrinkles and you breathe in and out through your nose normally. And I say, when, when people get used to it, just close your eyes and just enjoy, you know, the effect of it all. And then you with your ring finger, you know, just around your eyes slowly, often you out, we still have got clean hands and you apply a little bit of serum. Or oil and then just ever so lightly. So this is really good for lymphatic drainage when you wake up and you've got fluid on your eyes. So to do that and ever so lightly around my dad, we have that in our family, for sure. I might add that to my morning routine. Um, I do my little.  And if you got an eye gel, you know, put it in the fridge, you know, cold, pull it together. It just all makes a difference. It really does. And obviously you, you are a very beautiful woman and I appreciate that. Tell me  what  clients comment on the most about this. I think they really, really enjoy the personal touch. They really like to engage with someone. They really liked the sensation. They like that. They can ask me questions every time they're stuck. They've got, got a person they relate to instead of. At an app or, you know, someone automated. I, a lot of people become very lonely and very isolated, although with social media and, and I think results of course, I mean, I've got before and after pictures and it's just incredible that, oh my God, you know, this is better than what I ever caught with no filter. And. I think also awareness that our remind people, do you drink enough? Do you sleep enough? How do you sleep? You know, all the basics that we all know, but of often forget about. So I agree with that and I love so custom tailored, because everything today is good enough and tossed out to the masses. And it's nice to have some people who want to add that, that personal touch and do what's best for the client and show that kind of customer service. It's rare. I find it very rare. Everybody just wants to do the course online and be done, but like you said, some people were applying too much pressure. They would never know that if they were doing a course online. So that is really awesome that you, you know, you show them, they replicate it, make sure they're doing it right. And it's custom tags like it. And also, you know, you know how often when you get something online, you, you get by in, at. And no one reminds you, no one pushes you. And I've had so many clients, they said, oh, I actually bought the app. You know, months, months ago, I've never looked at it. And I think I forgot. So that's what I mean. It isn't anything. There's no one that reminds them. You don't have accountability. Yeah. I counted. There's a very low percentage. I forget what it is. I can't remember. I learned it from Tony Robbins about how many people buy courses and actually go through with them. That is so fantastic. So I've last question is, my signature question. If there was one thing that you can eliminate in the world, what would it be and why? Definitely war and there is there no witness there. And, I think it's just so sad. I mean, look at the situation we've got now.  No one wins and, um, war together with evil. There's no place in the world where that that's. Yeah, it is very scary and no. I wish people could figure out how to do sit at like a meeting, you know, can we just sit at a table and hash this out, but I guess people are not rational enough. I wish you could do that too. That would be lovely. tell our listeners where they can get ahold of you so that they can get some facial yoga instruction. Well, I'm absolutely I'm on all the social media and otherwise I've got a website. Paste yoga.co dot and Zed and Facebook, Facebook page, Instagram, YouTube. So if you give them Face Yoga New Zealand, you will find Carin Andresen at Face Yoga New Zealand. I love it. And,  I have two reasons now to get to. Well, ah, this was so fun and so awesome. Um, and everybody could use this, including men. I know most people are gonna affect a woman's thing, but you know what men need to do their beauty regimen too. In fact, I've been following this guy. Who's a pretty burly guy and he talked about putting facial cream on the other day. And I was like, wow, that's probably a lot more time in the bathroom then they used to be. And why not? Like, why not wash your face in the morning and put a little cream on and do a little tapping of course your face, like, oh, what would that take a couple minutes? You know? And if it could make you feel better, For the rest of your life. When you look in the mirror, that's an awesome thing. So thank you, Karen, for coming on the vitality. Um, absolutely. It was a pleasure to have you, and I hope everybody takes advantage of her expertise here because I think it's really fascinating and I never knew this existed, so I'm happy to share it out in the world. Thank you.

Season 1, Episode 10Have you ever noticed that there is an inordinate amount of sweets in films directed by women? Writer Heather O'Neill has. In her latest essay for The Walrus, “Let Her Eat Cake: The Subversive Power of Women Feasting,” she delves into the world of women indulging to explore this fixation on sweet treats. Through a series of personal vignettes, O'Neill weaves the story of her own relationship with food into her analysis of feast-focused films both contemporary and classic.Heather O'Neill is an award-winning novelist and essayist. Her works include Lullabies for Little Criminals and The Lonely Hearts Hotel. Her most recent novel is When We Lost Our Heads. In this episode:O'Neill explains what inspired her to write an essay about women feasting. She then talks about why she chose these particular films to focus on. She then discusses what food has meant in her own life and how her relationship with food changed once she moved out and grew into adulthood.Then O'Neill speaks about the problematic diets and trends of the 1990s, when “Heroin Chic” was all the rage.O'Neill then talks about how popular culture has since shifted, with the recent body positivity movement, but how women still have trouble accepting their own bodies.She then speaks about eating at food banks with her young daughter when she was in her early twenties.   O'Neill then discusses what food means to women's lives.We then hear about what O'Neill is reading right now. Finally, we check in on what we're talking about this week at The Walrus.Links:Let Her Eat Cake: The Subversive Power of Women FeastingAdditional Links:Nicholas Hune-Brown Wins 2022 Canadian Hillman Prize for JournalismEmily Baron Cadloff's TikTok videoViral Symptoms: The Rise of Mental Health Diagnosis Videos on TikTokFacebook @thewalrusTwitter @thewalrus Instagram @thewalrusLooking to get in touch about the podcast? You can reach us at web@thewalrus.ca. Credits:Hosted and produced by Sheena Rossiter and Angela Misri, with editing by Sheena RossiterMusic provided by Audio Jungle. Our theme song is “This Podcast Theme” by Inplus Music Additional music: “Stay Cool” by Loops Lab; “Podcast Intro” by Inplus Music; “Protofunk” and “Private Reflection” by Kevin MacLeod, provided by Film Music; “Skydancer” by Scandinavianz; “Dark Eyes” by Teddy and Marge, provided by the Free Music Archive.Private Reflection by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4241-private-reflectionLicense: https://filmmusic.io/standard-licenseProtofunk by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4247-protofunkLicense: https://filmmusic.io/standard-licenseAdditional sources: Fellinious, Masguita, and ABC News on YouTube 

Growing up, before even becoming a fan of rock music, there was one name I knew very well – Jon English. He made a huge name for himself in the Australian production of Jesus Christ Superstar as Judas – Tim Rice may have declared him the finest performer of the role.Welcome to episode 144 of Love That AlbumI welcome music writer and biographer Jeff Apter to the show. He's just had his latest book published, “Behind Dark Eyes: The True Story of Jon English”. We talk about Jon's career as song interpreter, songwriter, actor (on TV and stage), rockstar, composer, and family man. There are many musicians who go into acting (and vice versa) but few went into everything with the gung ho that Jon did. Did I mention he was also hugely funny?? I'm not referring to his appearances on All Together Now – anytime he was on a stage with the Foster Brothers or as an actor, he owned the audience with his humour as well as THAT singing voice.Jeff has released what I believe is a terrific biography that is respectful and devoted without being enslaved to the subject. The exultation of success and the disappointment at having the work he prized the most largely ignored are covered. We had a great conversation about all aspects of Jon and his work. If you're a fan or you're new to him, I hope you get something out of this episode.If you're looking for Jon's music on physical media, you can pick up his albums in multi cd packs labeled as Anthology. There's also a great comp called Six Ribbons – The Ultimate Collection.If you prefer streaming, there's that option as well.My huge thanks to Jeff for his time. You can order the book from https://www.booktopia.com.au/behind-dark-eyes-jeff-apter/book/9781925868463.html or if you're outside of Australia https://www.bookdepository.com/Behind-Dark-Eyes/9781925868463. You can check out Jeff's other work at http://jeffapter.com.auDownload this episode of LTA from Spotify, Stitcher or iTunes (search for “Love That Album podcast”).Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows.You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbumIf you'd consider writing an iTunes review I'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a barbecue, over coffee, on social media….whatever way you choose, consider me grateful.

Growing up, before even becoming a fan of rock music, there was one name I knew very well – Jon English. He made a huge name for himself in the Australian production of Jesus Christ Superstar as Judas – Tim Rice may have declared him the finest performer of the role. Welcome to episode 144 of Love That Album I welcome music writer and biographer Jeff Apter to the show. He's just had his latest book published, “Behind Dark Eyes: The True Story of Jon English”. We talk about Jon's career as song interpreter, songwriter, actor (on TV and stage), rockstar, composer, and family man. There are many musicians who go into acting (and vice versa) but few went into everything with the gung ho that Jon did. Did I mention he was also hugely funny?? I'm not referring to his appearances on All Together Now – anytime he was on a stage with the Foster Brothers or as an actor, he owned the audience with his humour as well as THAT singing voice. Jeff has released what I believe is a terrific biography that is respectful and devoted without being enslaved to the subject. The exultation of success and the disappointment at having the work he prized the most largely ignored are covered. We had a great conversation about all aspects of Jon and his work. If you're a fan or you're new to him, I hope you get something out of this episode. If you're looking for Jon's music on physical media, you can pick up his albums in multi cd packs labeled as Anthology. There's also a great comp called Six Ribbons – The Ultimate Collection. If you prefer streaming, there's that option as well. My huge thanks to Jeff for his time. You can order the book from https://www.booktopia.com.au/behind-dark-eyes-jeff-apter/book/9781925868463.html or if you're outside of Australia https://www.bookdepository.com/Behind-Dark-Eyes/9781925868463. You can check out Jeff's other work at http://jeffapter.com.au Download this episode of LTA from Spotify, Stitcher or iTunes (search for “Love That Album podcast”). Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum If you'd consider writing an iTunes review I'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a barbecue, over coffee, on social media….whatever way you choose, consider me grateful.

Growing up, before even becoming a fan of rock music, there was one name I knew very well – Jon English. He made a huge name for himself in the Australian production of Jesus Christ Superstar as Judas – Tim Rice may have declared him the finest performer of the role.Welcome to episode 144 of Love That AlbumI welcome music writer and biographer Jeff Apter to the show. He's just had his latest book published, “Behind Dark Eyes: The True Story of Jon English”. We talk about Jon's career as song interpreter, songwriter, actor (on TV and stage), rockstar, composer, and family man. There are many musicians who go into acting (and vice versa) but few went into everything with the gung ho that Jon did. Did I mention he was also hugely funny?? I'm not referring to his appearances on All Together Now – anytime he was on a stage with the Foster Brothers or as an actor, he owned the audience with his humour as well as THAT singing voice.Jeff has released what I believe is a terrific biography that is respectful and devoted without being enslaved to the subject. The exultation of success and the disappointment at having the work he prized the most largely ignored are covered. We had a great conversation about all aspects of Jon and his work. If you're a fan or you're new to him, I hope you get something out of this episode.If you're looking for Jon's music on physical media, you can pick up his albums in multi cd packs labeled as Anthology. There's also a great comp called Six Ribbons – The Ultimate Collection.If you prefer streaming, there's that option as well.My huge thanks to Jeff for his time. You can order the book from https://www.booktopia.com.au/behind-dark-eyes-jeff-apter/book/9781925868463.html or if you're outside of Australia https://www.bookdepository.com/Behind-Dark-Eyes/9781925868463. You can check out Jeff's other work at http://jeffapter.com.auDownload this episode of LTA from Spotify, Stitcher or iTunes (search for “Love That Album podcast”).Love That Album is proudly part of the Pantheon Podcast network. Go to http://pantheonpodcasts.com to check out all their great shows.You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbumIf you'd consider writing an iTunes review I'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a barbecue, over coffee, on social media….whatever way you choose, consider me grateful.

POD DYLAN Episode 120 - Dark Eyes Rob welcomes back BobCat Matt Steichen to discuss "Dark Eyes", the final song on 1985's EMPIRE BURLESQUE. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan Subscribe to the show on Apple Podcasts: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Complete list of all songs covered so far: http://fireandwaterpodcast.com/podcast/pod-dylan-the-songs Buy this song on Apple Music: https://music.apple.com/us/album/empire-burlesque-remastered/717155647 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Thanks for listening!

It's already the end of January, 1949. Frank Barton is back with some more shtick, and our steady foursome too: Bob, Ralph Collier on drums, Jud De Naut on bass, and Ray Sherman at the piano. The guys feel particularly in sync on tonight's show, right from the start of "Sweet Georgia Brown". Back on January 10, Los Angeles got a half inch of snow (the valley almost a foot!) in what remains an epic weather event in city history. Perhaps that provided inspiration for Bob to broadcast "I've Got My Love To Keep Me Warm", the Irving Berlin standard. Margo Powers steps in and si hable "Frenesi" very nicely. Bob cues in the guys for "Tenderly", in the original 3/4 time and Ralph doubling on vibes, before Margo returns once again for "This Can't Be Love". The quartet wraps the month with a very picante pass at "Dark Eyes", before walking out once again to "Lady Be Good". 

From the opening bars of the “Sweet Georgia Brown” intro, we can hear there's a new kid in town on piano: twenty-three year old Hal Schaefer logs his one and only appearance on The Bob Bain Show, holding his own alongside Bob, Jud DeNaut on bass and Ralph Collier playing drums. Schaefer would later go on to fame as arranger and vocal coach for (among others) Marilyn Monroe (and his liaison with her was the cause of an infamous “wrong door raid” perpetrated by Joe DiMaggio and Frank Sinatra). Here he plays mainly by the book and defers to Margo Powers for “Ah But It Happens” and giving Bob ample support on “Frenesi”. His skills as accompanist are plain in “At Long Last Love”, and for the closer “Dark Eyes”, his soloing chops are beyond dispute. Nice work for a sub! Next week Ray Sherman will return for nearly the duration of the show. Nice to hear you, Hal!

The October 18, 1948 broadcast features the familiar lineup of Bob, Ray Sherman on piano, Jud De Naut on bass, and Nick Fatool on drums. They kick things off with a tight version of “Brazil”, then song star Margo Powers comes in for “The Man I Love”, enlivened by Bob's solo. The quartet swings through the Ellington tune “Bojangles”. Margo returns for a paean to shiftlessness written by Joe Venuti and Lee Jarvis: “Ain't Doin' Bad Doin' Nothin'”, but enterprising Bob closes out the date with a virtuosic version of “Dark Eyes”, with his harmonics and Ray Sherman's dexterous piano taking us out on a high note indeed!

Sweeney offers all hey can grab. Shadow gave it away, freely. Sweeney's doomed. Find out more at https://the-world-beyond-the-tale.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-514c69 for 40% off for 4 months, and support The World Beyond The Tale - The Page-A-Day American Gods Podcast.

The quartet closes out the month of September with Nick Fatool on the drum set, Jud De Naut playing bass and Ray Sherman at the piano again. The show had originally aired Saturday nights, but this would be the last weekend broadcast and the next show NBC decided to move to Monday. After our Lady Be Good intro, the quartet dances through a version of "The Continental" that Astaire must have loved. Song star Margo Powers is back with a lovely ballad version of "Too Marvelous For Words", then the quartet strides through Bob's remarkable combination of "Easy To Love" blended with "Haunted Heart". Margo shows off her Spanish chops with "You Belong To My Heart" (Latin Love, anyone?) before the quartet wraps the show with an extraordinarily tight pass at "Dark Eyes". Stay tuned!

The quartet starts off with a picante version of "Cumana", with Nick Fatool doubling on maracas and Bob showing off some guitar effects. Margo Powers keeps things on an even keel; Bob cleverly combines "Dancing In The Dark" with "Small Hotel"; but the highlight may be the closer, "Dark Eyes". A remarkable variety of style in under fifteen minutes! This podcast made possible by the love and generosity of Bob's daughters: Cris and Sunny/

@bigfinish #doctorwho #tindogpodcast   DARK EYES 4 RELEASED MARCH PRICES CD £20.00 Download £20.00 WEB SPECIAL PRICE! Synopsis 4.1 A Life in the Day by John Dorney The Doctor and Liv return to post-World War One London, where the Doctor meets Kitty Donaldson (Beth Chalmers), and Liv strikes a friendship with her brother Martin (Barnaby Kay). But what mysterious force is hunting them? 4.2 The Monster of Montmartre by Matt Fitton The Doctor and Liv's investigations bring them to Paris, where a monster stalks the streets. 4.3 Master of the Daleks by John Dorney The Master and the Dalek Time Controller have forged an alliance. History hangs in the balance, and this time the Doctor can't help… 4.4 Eye of Darkness by Matt Fitton It's the endgame. Truths will be revealed, and a hero will make the ultimate sacrifice.   Written By: John Dorney, Matt FittonDirected By: Ken Bentley Cast Paul McGann (The Doctor), Nicola Walker (Liv Chenka), Alex Macqueen (The Master), Barnaby Kay (Martin Donaldson), Rachael Stirling (Adelaine Dutemps),Sorcha Cusack (Mary), Dan Starkey (The Sontarans), Susannah Harker (Anya),David Sibley (The Eminence), Beth Chalmers (Kitty Donaldson), Charlie Norfolk(The Woman), Derek Hutchinson (Usher), Alex Wyndham (Thug), Blake Ritson(Barman), Camilla Power (Receptionist/Mademoiselle), John Dorney (Android), withNicholas Briggs (The Daleks)

@bigfinish #doctorwho #tindogpodcast   "Molly O'Sullivan? Hello you."   In his quest for universal domination, the Master plans to exploit the terrifying Infinite Warriors of the mysterious Eminence. The Doctor's friend, Molly, is key to that plan's execution, and now, aided by corrupted genius Sally Armstrong, the Master is close to success.   Paranoid and perplexed after his recent experience, the Doctor skirts the fringes of the fifty-year conflict between humanity and the Infinite Armies. Wary of changing the course of history, he fears that to fight the Eminence would be to do the Daleks' bidding. But when Time Lord CIA agent Narvin provides the impetus for the Doctor to act, Liv Chenka joins him in a desperate race to save their friend and stop the Master.   As the Doctor goes head to head with his oldest and deadliest rival, this war is about to get very personal indeed...

DARK EYES 3 RELEASED NOVEMBER 2014 PRICES CD £40.00 Download £35.00 Synopsis "Molly O'Sullivan? Hello you."   In his quest for universal domination, the Master plans to exploit the terrifying Infinite Warriors of the mysterious Eminence. The Doctor's friend, Molly, is key to that plan's execution, and now, aided by corrupted genius Sally Armstrong, the Master is close to success.   Paranoid and perplexed after his recent experience, the Doctor skirts the fringes of the fifty-year conflict between humanity and the Infinite Armies. Wary of changing the course of history, he fears that to fight the Eminence would be to do the Daleks' bidding. But when Time Lord CIA agent Narvin provides the impetus for the Doctor to act, Liv Chenka joins him in a desperate race to save their friend and stop the Master.   As the Doctor goes head to head with his oldest and deadliest rival, this war is about to get very personal indeed...   Written By: Matt Fitton Directed By: Ken Bentley Cast Paul McGann (The Doctor), Nicola Walker (Liv Chenka), Ruth Bradley (Molly O'Sullivan), Alex Macqueen (The Master), Natalie Burt (Dr Sally Armstrong), David Sibley (The Eminence), Sean Carlsen (Narvin) 1: The Death of HopeGeorgie Fuller (Hope Gardner), Geoffrey Breton (Leo Gardner) 2: The ReviledSacha Dhawan (Jaldam), Sarah Mowat (Gajeeda), Laura Riseborough (Sharma) 3: MasterplanDavid Sibley (Professor Markus Schriver), John Banks (Captain/Lieutenant) 4: Rule of the EminenceJonathan Forbes (Walter Vincent), Beth Chalmers (Casey Carraway), Georgia Moffett (Engineer Tallow) Downloads

DARK EYES 3 RELEASED NOVEMBER 2014 PRICES CD £40.00 Download £35.00 Synopsis "Molly O'Sullivan? Hello you."   In his quest for universal domination, the Master plans to exploit the terrifying Infinite Warriors of the mysterious Eminence. The Doctor's friend, Molly, is key to that plan's execution, and now, aided by corrupted genius Sally Armstrong, the Master is close to success.   Paranoid and perplexed after his recent experience, the Doctor skirts the fringes of the fifty-year conflict between humanity and the Infinite Armies. Wary of changing the course of history, he fears that to fight the Eminence would be to do the Daleks' bidding. But when Time Lord CIA agent Narvin provides the impetus for the Doctor to act, Liv Chenka joins him in a desperate race to save their friend and stop the Master.   As the Doctor goes head to head with his oldest and deadliest rival, this war is about to get very personal indeed...   Written By: Matt Fitton Directed By: Ken Bentley Cast Paul McGann (The Doctor), Nicola Walker (Liv Chenka), Ruth Bradley (Molly O'Sullivan), Alex Macqueen (The Master), Natalie Burt (Dr Sally Armstrong), David Sibley (The Eminence), Sean Carlsen (Narvin) 1: The Death of HopeGeorgie Fuller (Hope Gardner), Geoffrey Breton (Leo Gardner) 2: The ReviledSacha Dhawan (Jaldam), Sarah Mowat (Gajeeda), Laura Riseborough (Sharma) 3: MasterplanDavid Sibley (Professor Markus Schriver), John Banks (Captain/Lieutenant) 4: Rule of the EminenceJonathan Forbes (Walter Vincent), Beth Chalmers (Casey Carraway), Georgia Moffett (Engineer Tallow) Downloads

@bigfinish #doctorwho #podcast #tindogpodcast   Daily Listen along for Dark Eyes 3   DARK EYES 3 RELEASED NOVEMBER 2014 PRICES CD £40.00 Download £35.00 Synopsis "Molly O'Sullivan? Hello you."   In his quest for universal domination, the Master plans to exploit the terrifying Infinite Warriors of the mysterious Eminence. The Doctor's friend, Molly, is key to that plan's execution, and now, aided by corrupted genius Sally Armstrong, the Master is close to success.   Paranoid and perplexed after his recent experience, the Doctor skirts the fringes of the fifty-year conflict between humanity and the Infinite Armies. Wary of changing the course of history, he fears that to fight the Eminence would be to do the Daleks' bidding. But when Time Lord CIA agent Narvin provides the impetus for the Doctor to act, Liv Chenka joins him in a desperate race to save their friend and stop the Master.   As the Doctor goes head to head with his oldest and deadliest rival, this war is about to get very personal indeed...   Written By: Matt Fitton Directed By: Ken Bentley Cast Paul McGann (The Doctor), Nicola Walker (Liv Chenka), Ruth Bradley (Molly O'Sullivan), Alex Macqueen (The Master), Natalie Burt (Dr Sally Armstrong), David Sibley (The Eminence), Sean Carlsen (Narvin) 1: The Death of HopeGeorgie Fuller (Hope Gardner), Geoffrey Breton (Leo Gardner) 2: The ReviledSacha Dhawan (Jaldam), Sarah Mowat (Gajeeda), Laura Riseborough (Sharma) 3: MasterplanDavid Sibley (Professor Markus Schriver), John Banks (Captain/Lieutenant) 4: Rule of the EminenceJonathan Forbes (Walter Vincent), Beth Chalmers (Casey Carraway), Georgia Moffett (Engineer Tallow) Downloads