Podcast appearances and mentions of Emily Wilson

“There's a reason why movies have always been used for propaganda.” Correction: Our seventh year anniversary just passed, not our fifth. Thanks for listening! Time StampsOpening – (0:00)The Odyssey review – (1:30)IMAX Accessibility – (19:15)Whatcha Been Watching – (22:09)Life, Larry, and the Pursuit of Unhappiness: An Almost History of America – (22:19)Emily Wilson's The Iliad and The Odyssey – (23:08)Live action Moana – (28:48)The Invite – (29:38)On The Horizon – (30:53)Outro – (37:20) Like, subscribe, and comment below! Wanna find […]

“I want someone who has regrets. I want someone who's learned the hard way. I want someone who understands that life is made of those messy compromises.” — Joel Christensen on the Odysseus he hopes to see in Matt Damon Christopher Nolan's The Odyssey is out — the controversial movie of the year, much of the controversy raging before anyone had seen a frame. So, before either of us had seen the epic, I talked to the CUNY classicist Joel Christensen, author of the timely Why Odysseus? Survivor, Scoundrel, (Anti)hero. What, I asked Christensen, did he most dread about Hollywood's treatment of his beloved Odyssey? His answer: a hero too noble to be interesting. The Odysseus of the epic is a survivor, a scoundrel, an antihero — the master sergeant who does what needs to be done, from engineering the Trojan Horse to making sure Hector's infant son doesn't survive it. Christensen's worry about Matt Damon came down to one word: too likeable. What he wanted instead was a man with regrets — De Niro in Raging Bull rather than anybody noble. So did Christensen get the Odysseus he wanted? Below is his review, written after seeing the film when it came out. Postscript: Joel Christensen's Verdict on the Film Nolan's Odyssey is not Homer's Odyssey. This should be clear to anyone. Nolan faced an almost impossible task well: ancient audiences knew the story already. Modern audiences do not, so he created a ring structure with the beginning union of Penelope and Odysseus anticipating the reunion at the end, also introducing plot elements like the dog Argos and the pin by which Penelope will recognize Odysseus. The film is not Homer. Homer's power is poetry; the film's is image. Some of the images are striking: the scene when Circe turns his men into animals is the most arresting in the whole movie, showing everything that can be done with visceral imagery and a slight adaptation (Circe here is a survivor of sexual assault). The changes made to the plot such as omitting the Phaeacians, Nestor, Laertes, the bed and more are not as jarring as some of the general decisions. Calling “Zeus' Law” “do unto others…” makes an understandable translation to a Christian context, but it is somewhat nonsensical for Homer. Depicting a mutilated Helen is a strange decision that I am struggling with. What the movie gets right is making humans responsible for their own suffering. In a novel take on Odysseus as a traumatized warrior, the hero spends seven years with Calypso eating Lotus to forget the loss of his men. Damon, too likeable, regrets the trick of the Trojan Horse after witnessing the slaughter during the sack of Troy. We find out as well that the “sea people” from history, bringing an end to the “civilization” are actually the Greeks returning from the Trojan War and suffering for the transgressions they committed there. Is this ending an echo of Zeus' plan to end the race of heroes in the Trojan War? Is it an allegory for our civilizational collapse in the future thanks to technology, environmental catastrophe, and fascism? Any potential social critique dissipates with the movie's end. The traumatized veteran turns out to be merciful and kills only some of the suitors, showing many mercy. Then, guilty of violating “Zeus' Law”, Odysseus happily goes into exile with Penelope, leaving Telemachus to be king. There's no way to make Homer's Odyssey into a film and convey all its ambiguity and depth. That would be an unfair expectation. Nolan's film is a compelling spectacle and it makes me wonder more about how it reflects who we are as an audience. Do we need the hero to be ultimately good, even if he messed up? Are we so simple that we need to hear about Zeus' Law and the Sea People so repetitively? I fear that in this age where fiction and fact are so hard to disentangle, that we long for narratives that are just simpler. We don't get the Odyssey we want; we get the one we deserve. Five Takeaways •       A Complicated Man: The Translation Problem. Every word of Homer carries echoes no English can hold, and the fights over Nolan's dialogue replay the fights over translation. Emily Wilson detonated a controversy by rendering polytropos — poly, many; tropos, turn — as “a complicated man,” alluding at once to Odysseus's travels and the many forms of his character; Daniel Mendelsohn's “man of roundabout ways” does the work too, if you can stop thinking about rotaries. Even the objection to Tom Holland's Telemachus saying “dad” collapses on inspection: Telemachus uses the colloquial form in Homer. And the “authentic” dialect purists want was an artificial amalgam that no ancient Greek ever spoke. •       The Culture Wars Come for Homer. Nobody remembers a brouhaha over Wolfgang Petersen's Troy — a pretty bad movie, Christensen notes — but Nolan's Odyssey generates more controversy than a scholar can track daily. Lupita Nyong'o's Helen is attacked as inauthentic by one side and as cultural appropriation by the other; since 2015, classicists have watched the Western tradition weaponized by the alt-right while their own field argues about who owns it. Christensen's advice channels the epic itself: between Scylla and Charybdis, take Scylla. You'll lose six men. The alternative is losing the ship — and if the story doesn't persuade in three hours, nobody will remember the armor anyway. •       The Valence of Violence. Modern audiences are more accustomed to represented violence than any in history — you don't need Natural Born Killers when Twitter serves unverifiable clips from Gaza and Iran. The question Christensen brings to the film is what the violence is for. Uberto Pasolini's The Return gave Ralph Fiennes's Odysseus a steady, untroubled thump of arrows; the epic's own slaughter of the suitors, read closely, approaches Tarantino-adjacent parody. And the hardest tests are the atrocities the adaptations always cut: the mutilation of the goatherd Melanthius, and Telemachus hanging the enslaved women. Does the violence glorify the hero — or show what even the best of us are capable of? •       Keep Penelope Ambiguous. The great interpretive question of the Odyssey is when Penelope knows the beggar is her husband — the suitors, dead in the underworld, are convinced she was in on it all along. The epic grants her remarkable intelligence and agency, then reins it in: Agamemnon's ghost praises her by way of insulting all women, and she vanishes from the text. Christensen's advice to Nolan wouldn't be Margaret Atwood's Penelopiad, which centers the women's voices; it would be more screen time and total ambiguity — no access to her mind, a wife who matches her husband in wits and may even have outwitted him. Though based on Nolan's arc, he doubts we'll get a woman at the center. •       Survivor, Scoundrel, (Anti)hero. Christensen's worry about Matt Damon was simple: too likable. Odysseus is the master sergeant — the one who takes the hard orders, tricks Achilles into the war, engineers the Horse, and makes sure Hector's infant son doesn't survive to rebuild Troy. The ancient hero is neither good nor ...

Before we dive into The Odyssey by Christopher Nolan, we decided to catch up on the classical tale in the newest contemporary lens.A lost man, a grieving wife, a contemptuous son, many hungry giants, a few witches, and more gods than you could shake a stick at! email - ForestFilmClub22@gmail.comsocials - @ForestFilmClubblog - forestfilmclub.wordpress.com

In its nearly three-thousand-year history, the Odyssey has undergone as many twists and turns as its protagonist does on his journey home to Ithaca. Its origins as oral poetry suggest countless revisions before it was even put into text—and many more followed, as translators have wrestled with how best to express Homer's ancient Greek verse in their own languages. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider the latest rendition, a film adaptation by the director Christopher Nolan. The movie's two-hundred-and-fifty-million-dollar budget, A-list cast, and use of cutting-edge IMAX technology make it maximalist in every sense of the word. It's elicited glowing reception from early viewers—and faced preëmptive criticism from the right. Drawing on the scholar Emily Wilson's 2017 translation of the epic, Nolan has modernized the dialogue; his focus on the erosion of societal values also speaks directly to the anxieties of our era, in which so many norms and institutions feel newly precarious. “The Odyssey persists because the world does keep on evanescing behind us,” Cunningham says. “The question of how to move on is always fresh.” Read, watch, and listen with the critics: “The Odyssey” (2026) “Planet of the Apes” (1968) “Oppenheimer” (2023) “Troy” (2004) “Why the Odyssey Keeps Defeating Filmmakers,” by David Denby (The New Yorker) “L'Odissea” (1968) Emily Wilson's translation of the Odyssey Robert Fagles's translation of the Odyssey Daniel Mendelsohn's translation of the Odyssey “The Dark Knight” (2008) Shakespeare's “Hamlet” New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There was a LOT of online hubbub about Emily Wilson’s translation of The Odyssey, which seems to be the one Christopher Nolan relied on for his upcoming film version. I found it to be neither a brilliantly modern take on an ancient epic nor a horrifically woke piece of trash. My moderate take will likely rouse the ire of both sides, but that’s ok.

ASI's Brendan Menapace and Emily Wilson share how print and promotional products have become key players at the global sporting event.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  Today, Emily chats with Miguel Arzabe, a engineer turned artist based in Oakland, Ca... About Artist Miguel Arzabe: Miguel Arzabe makes colorful and dynamic abstractions - weavings, paintings, videos. He starts by finding outdated beauty in paper ephemera from art shows, modernist paintings, discarded audio recordings. They are methodically analyzed, deconstructed, reverse-engineered. Drawing inspiration from the cultural techniques and motifs of his Andean heritage, Arzabe weaves the fragments together revealing uncanny intersections between form and content, the nostalgic and the hard-edged, failure and recuperation. Arzabe lives and works in Oakland, CA. He had recent solo shows at Shulamit Nazarian Gallery (Los Angeles, CA) and Johansson Projects (Oakland, CA). Arzabe's work has been featured in such festivals as Hors Pistes (Centre Pompidou, Paris), Festival du Nouveau Cinéma (Montreal), and the Geumgang Nature Art Biennale (Gongju, South Korea); and in museums and galleries including MAC Lyon (France), MARS Milan (Italy), RM Projects (Auckland), FIFI Projects (Mexico City), Marylhurst University (Oregon), the Contemporary Jewish Museum, Berkeley Art Museum, the CCA Wattis Institute, and the San Francisco Museum of Modern Art. Arzabe's work is held in public collections such as the Harn Museum of Art in Gainseville, FL; the de Young Museum; Albuquerque Museum of Art; Oakland Museum of California; San Francisco Arts Commission; the State of California; as well as numerous private collections. He has attended many residencies including Facebook AIR, Headlands Center for the Arts, Montalvo Arts Center, Millay Arts, and Santa Fe Art Institute. He holds a BS from Carnegie Mellon University, an MS from Arizona State University, and an MFA from UC Berkeley. In 2022 Arzabe was awarded the San Francisco Bay Area Artadia Award. In 2023 he was awarded a Pollock-Krasner Foundation Grant and and a Golden Foundation Residency. In 2024 his work was featured in the exhibitions About Place at the deYoung Museum and The Poetics of Dimensions at the ICA San Francisco. His work is featured in the 2025 contemporary art survey TEXTILES x ART published by Thames and Hudson AU. Visit Miguel's Website:  MiguelArzabe.net Follow Miguel on Instagram: @Miguel.Arzabe -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us Fan MailPaul Harding steps into the co-host chair once more for this great episode with Emily Wilson.We found Emily on Instagram Emily Wilson's Cars (@emwilsons_cars) • Instagram photos and videos where her channel has rocketed to now over 40k followers in only a matter of months, largely based on her 81 year old Dad's antics, knowledge and huge likeability, and her own skill of extracting soundbites and pearls of wisdom and turning them into social media content for others to enjoy. Emily's story starts very simply, living above an antiques shop, her Dad would drive a Ford P100 pickup and between him and his wife (Emily's Mum) they would source, sell and deliver architectural antiques, with previous customers including Ringo Starr and the now King of England, Charles III. As business grew, so the cars came along - her Mum choosing to buy a brand new BMW 7 series, and her Dad favouring Dodge Ram pick up trucks! Alongside the truck, her Dad would also buy and restore classic cars which now form a 15 strong collection including Bentleys and Rolls Royces from the 20s and 30s, through to Jaguar E Type, Austin Healey and even a Ford Escort!We really hope you enjoy this chat and reflection on both car nostalgia, but also on what it takes to create content in 2026. We're pleased to say the guys from Viking Covers are staying on as Sponsor for My Dad's Car. If you are looking to keep the dust, dirt and weather off your cherished car go check them out at www.vikingcovers.co.ukSupport the showWe'd love you to hear and share your stories, please tag and follow us on social media. www.instagram.com/mydadscar_podcastwww.Facebook.com/mydadscar podcastwww.buymeacoffee.com/mydadscarIf you'd like to support the podcast and are able to, you can ‘buy us a coffee' which will help towards costs of hosting and purchasing equipment to allow us to record guests in person, rather than just on zoom. Get in touch with us direct - MyDadsCarPodcast@gmail.com 

Director Christopher Nolan has cited Emily Wilson's translation of Homer's Odyssey as one of the inspirations behind his new film adaptation. Ahead of the movie, Wilson discusses the history of the ancient text, the process of translating it to English, and the potential challenges of adapting the epic tale for the big screen. Wilson will be speaking about her work on the evening of July 16 at 92NY with livestream tickets available. Image: Homer, The Odyssey. Ulysses (Odysseus) giving wine to Polyphemus, a cyclopes, son of Neptune (Poseidon) - God of the sea. Homer, blind Greek poet, c. 800 - 600 BCE, Trojan War, epic; illustration after Flaxman (Photo by Culture Club/Getty Images) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This Friday, “The Odyssey,” directed by Christopher Nolan, hits theaters. Even before the movie's release, though, it's proving to be a cultural event. Spirited discussions of Nolan's cinematic interpretation of the epic poem already abound online, and they are likely to intensify after the public sees the film. Why does a 12,000-line poem that is nearly 3,000 years old still feel resonant today? In this episode of “The Sunday Daily,” Natalie Kitroeff talks about the “Odyssey” with two writers who have produced some critically acclaimed and widely read modern interpretations of Greek classics: Emily Wilson, the first woman to translate the “Odyssey” from ancient Greek, and Madeline Miller, the author of the best-selling novels “Circe” and “Song of Achilles.” On Today's Episode: Emily Wilson, a professor, classicist, author and translator of the “Odyssey” Madeline Miller, the author of “Circe,” “Song of Achilles” and other books Background Reading: We'll Help You Find Your Next Great Book. (Spoiler: It's the ‘Odyssey.') The First Woman to Translate the ‘Odyssey' Into English Book Review: Turning Circe Into a Good Witch Photo: Melinda Sue Gordon/Universal Pictures Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Emily and Lila have both faced lies from the enemy that fundamentally affected their lives. Overcoming these lies and stepping into the freedom of their true identity has changed everything. Today, they both sit down to share their journeys of faith, freedom, and true identity as daughters of God, and how everyone can step into these truths. Check out Sacred Spark: https://www.sacredspark.app/ Emily's most recent book: https://amzn.to/4y40Cc6NEW: Check out our Merch store! https://shop.lilaroseshow.com/Join our new Patreon community! https://patreon.com/lilaroseshow - We'll have BTS footage, ad-free episodes, and early access to our upcoming guests.A big thanks to our partner, EWTN, the world's leading religious network! Discover news, entertainment and more at https://www.ewtn.com/ Check out our Sponsors:-Seven Weeks Coffee: https://www.sevenweekscoffee.com Buy your pro-life coffee and Save up to 25% with promo code 'LILA' & get a free gift: http://www.sevenweekscoffee.com-Hallow: https://www.hallow.com/lila Enter into prayer more deeply this season with the Hallow App, get 3 months free by using this link to sign up! -Presidio Healthcare: Healthcare and doctors who share your values. Visit: https://www.presidiocare.com/lila -EveryLife Women: https://www.everylife.com/lila Buy diapers and women's health products from an amazing company and use code LILA10 to get 10% off!

Peabody Award-winning filmmaker Amber Sealey joins us to discuss the new marriage dramedy from Olivia Wilde, which premiered at Sundance and is now opening across the country. Costarring Wilde, Seth Rogen, Edward Norton, and Penelope Cruz, it provokes laughs, anger, rug envy, and that perennial question: are the straights okay? Then we discuss our favorite films that are set in a single location! What's Good Alonso - Christian Marclay's The Clock returns to LACMA; Spain in World Cup quarterfinals Drea - Emily Wilson's translation of THE ODYSSEY Amber - potpourri basket of hippie gum; Skylight Books opening an Eagle Rock location Kevin - young love drama before Shrek at Cinespia ITIDICAlamo Drafthouse to Begin Screening Unsold Festival DarlingsUniversal Opts to Skip “Influencer Screenings” for THE ODYSSEY Staff Picks Alonso - Splitsville Drea - Widow's Bay (because An Unmarried Woman and The Heartbreak Kid aren't streaming)  Amber - Such Brave Girls Kevin - The Invitation Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinmaxfilm Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

Christopher Nolan's latest film, The Odyssey, doesn't debut in theaters until next week, but it's already drawing online backlash for perceived inaccuracies from Homer's epic poem. The story dates back to ancient Greece and has been told countless times; Nolan's interpretation draws from a 2017 translation of classical studies scholar Emily Wilson that's noted for its conversational language and feminist approach. Wilson argues that any given translation is a product of both the author who writes it and the era in which they interpret the text. Wilson joins us to discuss translating ancient Greek, how modern English influenced her telling and why The Odyssey endures today. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week I talk about whether Claude is quietly winning the AI war — at least among business owners and tech nerds — after every speaker at Ecamm Creator Camp reached for Claude and nobody mentioned ChatGPT or Gemini, and why its "constitutional" rule-following makes me more comfortable using it. Then my take on finishing The Odyssey (the Emily Wilson translation) on a plane into Chicago, and a look at my Five-CD Changer Playlist — the five-albums-only, no-shuffle rules that make it fun.Links:Slides from my Ecamm Creator Camp / Max Stock talk (add link before publishing)The Odyssey, translated by Emily Wilsoncasabona.org/nowIf you enjoyed this, consider joining my newsletter at https://streamlined.fm/wrap. You'll get more tips on how to spend your time wisely, without worrying about your business.View the episode transcript (00:00) - Introduction (01:03) - On My Mind: Is Claude winning the AI war? (05:08) - Recommended Reading: The Odyssey (Emily Wilson translation) (07:10) - Something Fun: The Five-CD Changer Playlist (10:18) - Outro ————Streamlined Solopreneur helps  solopreneurs automate their business so they can take time off worry-free. Each week, Joe Casabona shares practical systems, tools, and strategies to help you reclaim your time and run your business without sacrificing your the rest of your life, or your health. If you're looking to get started, you can download the Solopreneur Systems Starter Kit. It's 4 systems every solopreneur should have, the simplest way to get started, along with the exact tools, automations, and AI prompts you need. No guessing here. Get it for free at https://streamlined.fm/kitConnect with Joe on LinkedIn: https://www.linkedin.com/in/jcasabona/

Jeff Brightwell visits with new Assistant Women's Golf Coach Emily Wilson about her new role, her playing career at Memphis and a summer trip to Europe!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, Andrew and Josh take a trip down to 70s Watts to talk about Charles Burnett's slice-of-life masterpiece Killer of Sheep! Going into a film all about "This Bitter Earth", they analyze the down-to-earth quality and humor Burnett brings into his potentially woeful premise, the hidden impact Killer of Sheep had over the decades, its scattered release history, and if it's the most definitively American film ever made (New York Times recently seems to think so). Then, they go into One More Thing, recommending AppleTV's hit horror-comedy show Widow's Bay, and a new Vulture interview with Odyssey translator Emily Wilson, “No One Has Dealt With More Angry Odyssey Bros Than Emily Wilson”. Next week, our hosts bring out guest/filmmaker Emile Parseghian to talk about WWII thriller Army of Shadows. Until then, read on at thetake-up.com and follow us @thetakeupstl on Instagram, Twitter, Letterboxd, and Facebook. Special thanks to Social Media Manager Kayla McCulloch and Contributor Ethan Tarantella. Theme music by AMP.

A eulogistic weepfest? A “valediction forbidding mourning”? A conscious unthroupling? All of the above?Believe it or not, the time has come for Steve, Dana, and Julia to convene the Culture Gabfest panel for the very last time. Before saying goodbye, they look back at the very first piece of culture they ever gabbed about on their inaugural episode in February 2008: the film Juno. Does the indie darling written by Diablo Cody, directed by Jason Reitman, and starring Elliot Page as a sardonic, pregnant teenager hold up after 18 years? And, what does rewatching it in 2026 reveal about how culture has changed? They discuss.Next, the panel welcomes on the grand poobah of SFOPs June Thomas to counsel them through the inevitable change in one's cultural habits that comes after a big life transition. They get into why June stopped watching TV and the truly wild mix of things in her YouTube algorithm. Finally, we hear from you our dear, dear listeners. Steve, Dana, and Julia respond to some of your many beautiful emails and voice memos. In our bonus episode for Slate Plus subscribers, past Gabfest producers spill the beans on what it was like to make this show over the years.And, as always, thank you so much for being a listener.EndorsementsDana: The forthcoming book about translating ancient texts by beloved past Gabfest guest Emily Wilson, Crossing the Wine-Dark Sea: Journeys Through Ancient Literature.June: The podcast Drafting the Past hosted by Kate Carpenter about the craft of writing history.Julia: Manhattan Beach's indie bookstore Pages and On the Calculation of Volume (Book 1) by Solvej Balle (definitely the first 30 pages and maybe the whole five book series).Steve: In addition to the music of Red Garland, I Capture the Castle by Dodie Smith, and the poem “The Writer” by Richard Wilbur, Sparrowbush Bakery, a tiny, rustic bakery in Livingston, New York that is only open Fridays and Saturdays and serves the best bread made from fresh stoneground flour from locally grown grains you'll ever taste.Where in the World to Find the Culture GabfestDana: Writing film reviews on Slate.com and kicking around a book idea that is still in the early stages. You can find updates and commentary on Bluesky. Steve: In the wind, to the sands... and also working on a new book about, among many other things, the 1980s.Julia: Editing L.A. Material and soon appearing weekly on L.A. Material's about-to-launch podcast L.A. World. Also, on Twitter/X, Instagram, and Bluesky.June: At her newsletter Where Are All the Emails?For the time being, listeners can also still reach the panel by emailing culturefest@slate.com. And to keep tabs on the Gabfesters, subscribe to their brand-new newsletter, the Culture Gabletter, to receive occasional updates, endorsements and more. --Podcast production by the immensely talented Benjamin Frisch. Production assistance by the brilliant Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

A eulogistic weepfest? A “valediction forbidding mourning”? A conscious unthroupling? All of the above?Believe it or not, the time has come for Steve, Dana, and Julia to convene the Culture Gabfest panel for the very last time. Before saying goodbye, they look back at the very first piece of culture they ever gabbed about on their inaugural episode in February 2008: the film Juno. Does the indie darling written by Diablo Cody, directed by Jason Reitman, and starring Elliot Page as a sardonic, pregnant teenager hold up after 18 years? And, what does rewatching it in 2026 reveal about how culture has changed? They discuss.Next, the panel welcomes on the grand poobah of SFOPs June Thomas to counsel them through the inevitable change in one's cultural habits that comes after a big life transition. They get into why June stopped watching TV and the truly wild mix of things in her YouTube algorithm. Finally, we hear from you our dear, dear listeners. Steve, Dana, and Julia respond to some of your many beautiful emails and voice memos. In our bonus episode for Slate Plus subscribers, past Gabfest producers spill the beans on what it was like to make this show over the years.And, as always, thank you so much for being a listener.EndorsementsDana: The forthcoming book about translating ancient texts by beloved past Gabfest guest Emily Wilson, Crossing the Wine-Dark Sea: Journeys Through Ancient Literature.June: The podcast Drafting the Past hosted by Kate Carpenter about the craft of writing history.Julia: Manhattan Beach's indie bookstore Pages and On the Calculation of Volume (Book 1) by Solvej Balle (definitely the first 30 pages and maybe the whole five book series).Steve: In addition to the music of Red Garland, I Capture the Castle by Dodie Smith, and the poem “The Writer” by Richard Wilbur, Sparrowbush Bakery, a tiny, rustic bakery in Livingston, New York that is only open Fridays and Saturdays and serves the best bread made from fresh stoneground flour from locally grown grains you'll ever taste.Where in the World to Find the Culture GabfestDana: Writing film reviews on Slate.com and kicking around a book idea that is still in the early stages. You can find updates and commentary on Bluesky. Steve: In the wind, to the sands... and also working on a new book about, among many other things, the 1980s.Julia: Editing L.A. Material and soon appearing weekly on L.A. Material's about-to-launch podcast L.A. World. Also, on Twitter/X, Instagram, and Bluesky.June: At her newsletter Where Are All the Emails?For the time being, listeners can also still reach the panel by emailing culturefest@slate.com. And to keep tabs on the Gabfesters, subscribe to their brand-new newsletter, the Culture Gabletter, to receive occasional updates, endorsements and more. --Podcast production by the immensely talented Benjamin Frisch. Production assistance by the brilliant Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  This week, Emily welcomes Paola de la Calle, a Colombian American multidisciplinary artist based in San Francisco. Her work spans textiles, ceramics, printmaking, and writing, and often explores themes of immigration, land sovereignty, family memory, and diaspora identity. About Artist Paola de la Calle: Paola de la Calle is a Colombian-American multidisciplinary artist whose work examines home, identity, borders, and nostalgia through the use of textiles, printmaking, and sculpture. In her practice, De la Calle combines photographs sourced from family albums and found images which she prints on textiles, as well as poetic texts, paintings made with coffee instead of paint, and found objects, to mine the aesthetics of nostalgia and examine the socio-political relationship between the United States and Colombia.  She is a graduate of the New York Foundation of the Arts Immigrant Artist Program in 2019 and the lead artist for the Caravan for the Children Campaign as part of her residency with Galeria de la Raza in 2020. She was awarded fellowships at KALA (2022) and The Studios at MassMOCA (2025). She has attended residencies at the Textile Arts Center in Brooklyn, NY and Casa Lu in Mexico City, MX. ​De la Calle was awarded the 2026/2027 Ann Chamberlain Artist-in-Residence at San Francisco State University. She's been featured on Hyperallergic's “A View from the Easel”, “Through My Eyes” on Hulu, NPR, Refinery29, The Boston Art Review, Latina Magazine, Glasstire, and VOGUE among others. Visit Paola's Website:  PaoladelaCalle.com Follow Paola on Instagram: @PaoladelaCalle -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Plot Begins: Rage and Divine Bargains. Guest: Professor Emily Wilson. The plot of the Iliad is ignited by a clash of egos between Agamemnon and Achilles. When Agamemnon is forced to return his own war prize to appease Apollo, he seizes Achilles' enslaved woman, Briseis, to recoup his lost face. This action causes Achilles to withdraw from the fighting, perversely restoring his honor by demonstrating how much the Greeks suffer without him. This human conflict is mirrored by divine bargaining; for instance, Hera is so intent on destroying Troy that she offers to let Zeus destroy three of her own beloved cities, including Sparta, in exchange for his cooperation. The Greek audience would have recognized the historical weight of these fallen cities. Wilson interprets Agamemnon not as a simple villain, but as a weak and struggling leader who often blames his poor decisions on divine delusion rather than taking personal responsibility. Despite his flaws, the poem illustrates the immense difficulty of maintaining power and making decisions under the influence of manipulative gods. 5

Mortality and the End of the Iliad. Guest: Professor Emily Wilson. The final stages of the Iliad focus on Achilles' intense grief and the rituals surrounding death. Following the violent funeral pyre for Patroclus, Achilles organizes funeral games, which Wilson suggests represent his growing realization that all mortals are ultimately "losers" in the face of death. These games provide a new model for competition where skillful men can win prizes without the conflict ending in the destruction of society. A significant moment of reconciliation—or perhaps a "sick burn"—occurs when Achilles gives Agamemnon a prize for spear-throwing without requiring him to compete, acknowledging Agamemnon's status while potentially mocking his habit of taking things he did not earn. The poem notably concludes not with the fall of Troyor the Trojan Horse, but with the voices of three women—Andromache, Hecuba, and Helen—singing laments. Their grief highlights the future of enslavement and loss facing the survivors. This ending, marked by a humanitarian pause for Hector's funeral, underscores the poem's central theme: the universal struggle to accept human mortality. 1

The Homeric Question and Epic Tradition. Guest: Professor Emily Wilson. The identity of Homer remains a subject of intense scholarly debate, as the Iliad emerged from a long oral tradition that existed before the return of literacy to Greece in the 8th century BCE. For centuries, performing poets developed stories of heroes like Achilles and Agamemnon, using dactylic hexameter to aid memory and performance. The Iliad is a monumental written poem that takes a sophisticated approach to these familiar tales, often subverting expectations. Interestingly, it omits many "famous hits" like the Trojan Horse, the judgment of Paris, and the actual fall of Troy. Instead, it focuses on a mere month and a half of the ten-year war, centering on internal Greek conflict rather than just a battle against Trojans. Wilson notes that while she translates the work into iambic pentameter to capture its drive, the poem itself possesses the narrative complexity of a modern novel, utilizing techniques like shifting perspectives and narrator omniscience. She also mentions lost epic poems like the Cypria, which provided more backstory on Zeus's plan to reduce the human population through war. 2

Character Pairings and the Pressure of Honor. Guest: Professor Emily Wilson. The Iliad features vivid character relationships that function with the depth of a novel. Helen is portrayed as an ironic thinker and a storyteller who weaves the sufferings of the war into her textiles, much like the poet himself. She possesses a unique perspective on her own fate and the limited power mortals have against the whims of gods like Aphrodite. In contrast, Hector and Andromacheform a tragic pairing; Andromache's heartbreaking pleas for her husband to stay within the city walls are met with Hector's refusal, driven by the intense fear of shame and the pursuit of kleos, or undying glory. The royal couple Priamand Hecuba represent different facets of leadership and loss, with Hecuba displaying a maternal rage so fierce she wishes to eat her enemies raw. Divine figures like Thetis, Achilles' mother, add a layer of sympathy as she bargains with Zeus to grant her son glory, knowing his life will be short. However, these divine interventions often result in further horror for the mortals involved. 31789

Goddesses, Trophies, and the Bond of Achilles. Guest: Professor Emily Wilson. The gods in the Iliad often represent extreme human instincts, such as Aphrodite representing lust and Ares representing aggression. These deities are sometimes depicted as ridiculous because they flee the battlefield when wounded, whereas mortals must face their pain heroically. Within the Greek camp, the social structure is built around honor and "trophies," specifically enslaved women like Briseis, who are parceled out after military victories. While Briseis has a limited voice, she is shown to have a kind relationship with Patroclus, who is described as a multi-faceted character capable of both great kindness and brutal violence. Patroclus is not a "beta male" but a skilled warrior who mocks his victims as he kills them. The bond between Achilles and Patroclus is the most intimate and emotionally vulnerable relationship in the poem. Achilles' awareness of his own impending death and the violation of his honor by Agamemnon creates a deep-seated rage that drives the central plot. 41919

The Gore of Battle and the Sanctity of the Dead. Guest: Professor Emily Wilson. The Iliad features vivid and gory battle scenes that Wilson rendered by consulting with combat veterans to understand the visceral nature of death. Homeremphasizes the specific details of how each man dies, often juxtaposing the brutality of a spear through an eyeball with beautiful similes from the natural world. A major theme is the treatment of the dead; the poem views the corpse as the person, requiring those who loved the warrior to wash, wrap, and lament him. Entire books are dedicated to the struggle of reclaiming a fallen comrade's body, as desecrating a corpse is seen as the ultimate victory over an enemy. Stripping the armor from a victim serves as both an economic prize and a symbol of total dominance. While the gods like Poseidon and Hera intervene to support the Greeks, they also remain distinct from mortals by "bleeding" a substance called ichor. These divine and human elements culminate in the pivotal death of Patroclus, which shifts the direction of the entire war. 6

The Fall of Patroclus and the Killing Machine. Guest: Professor Emily Wilson. The turning point of the epic occurs when Patroclus enters the battle wearing Achilles' armor to deceive the Trojans and save the Greek ships. Ignoring Achilles' warning to return quickly, Patroclus is driven by a desire for honor and continues his assault until he is stripped of his armor by Apollo and killed by Hector. This loss transforms Achilles into a terrifying "killing machine" who returns to the field for vengeance. Before re-entering the fray, his mother Thetis secures new magical armor from Hephaestus, the "tech god" of fire who works with robotic assistants. Achilles' subsequent rampage is so brutal that he violates human norms by killing unarmed suppliants and clogging the river Xanthus with so many corpses that the river god himself rises in protest. The narrative reaches its climax as Hector faces Achilles alone outside the city walls. The poem suggests that without proper burial, a spirit or psyche is doomed to wander, as seen when the spirit of Patroclus visits Achilles to plead for his funeral rites. 71890

Mortality and the RAGE OF ACHILLES. Guest: Professor Emily Wilson. The conclusion of the Iliad explores the resolution of Achilles' rage following the death of Hector. Initially, Achilles attempts to prolong Hector's humiliation by dragging his body behind a chariot and refusing to allow a proper burial. However, the funeral games for Patroclus mark a shift toward maturity, as Achilles provides a space for competition that does not end in death. He even shows a degree of grace—or perhaps a subtle insult—by awarding Agamemnon a prize without a contest. The poem finishes with a humanitarian pause that allows the Trojans to bury Hector, bookending the story with funerals. The final voices are those of mourning women, emphasizing the shared human experience of grief and the inevitable suffering that follows war. Wilson concludes that the Iliad is fundamentally about the struggle to accept mortality, a theme that has provided comfort and insight to readers for over 2,700 years. 8

“In silent screams and wildest dreams, I never dreamed of this. This love is good. This love is bad. This love is alive back from the dead.” This week we're setting sail on one of history's greatest epics, Homer's The Odyssey, and asking a very important question... did Taylor Swift write it? (We're mostly joking. Mostly.) In this Show & Tell episode, we each make the case for a Taylor Swift song that illuminates a different facet of the Odyssey, from Penelope's 20-year vigil to Odysseus weeping on a gorgeous island, to the sirens, the wine-dark sea, and a very significant scar. Along the way, the hosts dig into questions of translation and interpretation — particularly the significance of Emily Wilson's landmark female translation of the text — discuss the role of Athena in the story of the epic, and geek out about the archery contest that shows up in both the Odyssey and two Indian epics. Plus: the upcoming Christopher Nolan adaptation, the musical Epic by Jorge Rivera, Madeline Miller's Circe, and why All Too Well (10 Minute Version) might just be Taylor's own Odyssey.   Subscribe for free to get episode updates or upgrade to paid to get our After School premium content: aptaylorswift.substack.com/subscribe. After School subscribers get monthly bonus episodes, exclusive content, and early access to help shape future topics!   Stay up to date at aptaylorswift.com   Songs Discussed in This Episode: This Love — Taylor Swift (1989, 2014) | Written by Taylor Swift and Nathan Chapman I Don't Want to Live Forever — Taylor Swift & Zayn (Fifty Shades Darker soundtrack, 2017) | Written by Taylor Swift, Jack Antonoff, and Sam Dew Willow — Taylor Swift (evermore, 2020) | Written by Taylor Swift and Aaron Dessner   Honorable Mentions: Long Story Short (evermore) — previously discussed in our Greek Mythology episode (E67) Breathe (Fearless) Treacherous (Red) The Great War (Midnights) The Story of Us (Speak Now) High Infidelity (Midnights) Castle's Crumbling (feat. Hayley Williams, Speak Now (Taylor's Version)) Dear Reader (Midnights) State of Grace (Red) Gold Rush (evermore)   Mentioned in This Episode: The Odyssey, Homer (trans. Emily Wilson) The Odyssey, Homer (trans. Robert Fagles) Circe, Madeline Miller The Song of Achilles, Madeline Miller The Penelopiad, Margaret Atwood Epic: The Musical, Jorge Rivera-Herrans Christopher Nolan's The Odyssey (upcoming film) All Too Well (10 Minute Version) (Taylor's Version) — mentioned as a potential “Taylor's Odyssey” Ulysses, James Joyce (briefly mentioned)   Episode Highlights: [~00:01] Welcome and why the Odyssey, why now [~10:45] Maansi's pick: This Love as Penelope's story — the weaving scheme, the suitors, and letting go [~24:00] Jenn's pick: I Don't Want to Live Forever as Odysseus refusing immortality on Calypso's island [~38:27] Jodi's pick: Willow — ships, the wine-dark sea, Charybdis, the sirens, and the bait-and-switch of Odysseus' return [~01:00:19] Honorable mentions: Breathe, Treacherous, The Great War, The Story of Us, High Infidelity, Castle's Crumbling, Dear Reader, State of Grace, Gold Rush Follow AP Taylor Swift Podcast on Social! TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree → linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm → tinyurl.com/aptslibro   Contact us at aptaylorswift@gmail.com   Affiliate Codes: Krowned Krystals — krownedkrystals.com | Use code APTS at checkout for 10% off!   Libro.fm — Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here: tinyurl.com/aptslibro   This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

Comedian and Prolific Podcaster Jackie Kashian returns to the show to talk about Magic: The Gathering and the Marvel edition, Wonder Man, Toy Story 5, Spider-Noir, The Studio, the Emily Wilson translation of The Odyssey, and Resident Evil 9.  

What might we learn about mental resilience from ancient Greek mythology?

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  This week, Emily Wilson sits down with Julia Goodman, a San Francisco-based artist who makes paper and textiles, as well as paintings and sculptures. They meet on the campus of the California College of the Arts — the last art school in San Francisco, set to close at the end of the 2026–27 school year — where Julia has been teaching. Their conversation covers Julia's winding path to art, the meditative and cathartic labor of making paper from recycled fabrics, grief, and an ongoing audio archive project about astronomy and motherhood. About Artist Julia Goodman: Julia Goodman is an artist and educator working at the intersection of papermaking, textiles, sculpture, and painting. Her work is held in the collections of the National Museum of Women in the Arts (NMWA), DePaul Art Museum, Recology San Francisco, and Google. Unimaginable Units of Time marks her first solo museum exhibition, presented at the San Luis Obispo Museum of Art. Recent group exhibitions include NMWA, Contemporary Jewish Museum, San Jose Museum of Art, DePaul Art Museum, Poetry Foundation, and Berkeley Art Center. Her residencies include JB Blunk Residency, Recology SF, Creativity Explored, Salina Art Center, The Space Program SF, and The Eames Institute. She is a recipient of the 2020 Women to Watch Award from the San Francisco chapter of NMWA. She is a longtime resident of the San Francisco Bay Area and started making paper in 2003 with a kitchen blender and old window screens. Visit Julia's  Website:  JAGoodman.com Follow Julia on Instagram:  @JuliaAnneGoodman Learn more about Julia's Wrenching News Workshops HERE. -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week, we're visiting with Mary Kay Andrews, a longtime writer and certified badass who we adore for her WTAF Wednesdays and her delightful books. We talk about her writing journey, her decision to get publicly, vocally political, and about her new book Road Trip. We had a great time chatting and talking about writing, about research, and about how we should all just take a road trip through Ireland. Of course, we recommend a few books!Find Mary Kay Andrews (and catch WTAF Wednesdays) on Instagram, Threads, or her website.Listen to our earlier romance road trip episode from Season 1 and head over to tell us all about your favorite road trips and find an endless list of road trip recs on the Fated Mates Discord, accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Next week, our read along is Seven Days in June by Tia Williams. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.Books DiscussedRoad Trip by Mary Kay AndrewsSummers at the Saint by Mary Kay AndrewsThis Kingdom Will Not Kill Me by Ilona AndrewsNevermind the Mistletoe by Louisa DarlingThe Adventures of Huckleberry Finn by Mark TwainThe Odyssey, Emily Wilson's TranslationThe Mostly True Story of Tanner and Louise by Colleen OakleyThis Tender Land by William Kent KruegerThe Road to Tender Hearts by Annie HartnettSponsorsEdward Underhill, author of The House of Now & Then, available in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo, or wherever you get your books.Kristina Forrest, author of The Summer Girlfriend, available for preorder in print, ebook, audiobook from Amazon, Apple Books, Barnes & Noble, Kobo or wherever you get your books.Little Brown & Co, publishers of Emily Adrian's Seduction Theory. Available in print, ebook and audiobook from Amazon, Apple Books, Barnes & Noble, Kobo, wherever you get your books, or with your monthly subscription to Kindle Unlimited.Lumi Gummies. Go to lumigummies.com and use code FATEDMATES for 30% off your order.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/6/9/s0837-road-trips-with-mary-kay-andrews If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

My guest on this week's Book Club podcast is Emily Wilson, the scholar and translator of Homer and Seneca, among many others. She tells me what tech bros get wrong about the classical world and what Cardi B can teach us about Aristophanes, as we discuss her new book, Crossing the Wine-Dark Sea: Journeys Through Ancient Literature. Hosted on Acast. See acast.com/privacy for more information.

Wed, 03 Jun 2026 00:00:00 GMT http://relay.fm/focused/257 http://relay.fm/focused/257 David Sparks and Mike Schmitz Stephen Robles joins us to talk about reading, intentional technology use, directing AI, and the golden era of the generalist. Stephen Robles joins us to talk about reading, intentional technology use, directing AI, and the golden era of the generalist. clean 4520 Stephen Robles joins us to talk about reading, intentional technology use, directing AI, and the golden era of the generalist. This episode of Focused is sponsored by: Keeper: Get 60% off personal and family plans. Squarespace: Save 10% off your first purchase of a website or domain using code FOCUSED. Guest Starring: Stephen Robles Links and Show Notes: Deep Focus: Extended ad-free episodes with bonus deep dive content. Focused 257 on YouTube Stephen's website Riverside.fm Stephen's YouTube channel Treo 755p | Wikipedia Engadget | Technology News & Expert Reviews Mac Power Users | Relay Range by David Epstein The Gap and The Gain by Dr. Benjamin Hardy and Dan Sullivan MKBHD on his 100th video | YouTube The Talk Show Ep. 447, with Adam Lisagor Hovercraft The Rise of the Creative Tastemaker | Practical PKM The Light Phone FL Studio The Body Keeps the Score by Bessel van der Kolk I Am Not a Robot by Joanna Stern Your Brain on Art by Susan Magsamen & Ivy Ross 100 Rules for Living to 100 by Dick Van Dyke Creativity by John Cleese Four Thousand Weeks by Oliver Burkeman The Other Side of Sadness by George Bonanno The Violin Maker by John Marchese Foundation | IMDb Stillness Is the Key by Ryan Holiday Last Meals | YouTube Reconcilable Differences | Relay Unreasonable Hospitality by Will Guidara Unreasonable Hospitality: The Secret to an Audience That Never Leaves | Nathan Barry Show #127 On B.S. by Harry Frankfurt The Odyssey by Homer, Emily Wilson translation Shark Slider Pico | iFootage Plaud Note Pro

Wed, 03 Jun 2026 00:00:00 GMT http://relay.fm/focused/257 http://relay.fm/focused/257 I Go By Vibes, with Stephen Robles 257 David Sparks and Mike Schmitz Stephen Robles joins us to talk about reading, intentional technology use, directing AI, and the golden era of the generalist. Stephen Robles joins us to talk about reading, intentional technology use, directing AI, and the golden era of the generalist. clean 4520 Stephen Robles joins us to talk about reading, intentional technology use, directing AI, and the golden era of the generalist. This episode of Focused is sponsored by: Keeper: Get 60% off personal and family plans. Squarespace: Save 10% off your first purchase of a website or domain using code FOCUSED. Guest Starring: Stephen Robles Links and Show Notes: Deep Focus: Extended ad-free episodes with bonus deep dive content. Focused 257 on YouTube Stephen's website Riverside.fm Stephen's YouTube channel Treo 755p | Wikipedia Engadget | Technology News & Expert Reviews Mac Power Users | Relay Range by David Epstein The Gap and The Gain by Dr. Benjamin Hardy and Dan Sullivan MKBHD on his 100th video | YouTube The Talk Show Ep. 447, with Adam Lisagor Hovercraft The Rise of the Creative Tastemaker | Practical PKM The Light Phone FL Studio The Body Keeps the Score by Bessel van der Kolk I Am Not a Robot by Joanna Stern Your Brain on Art by Susan Magsamen & Ivy Ross 100 Rules for Living to 100 by Dick Van Dyke Creativity by John Cleese Four Thousand Weeks by Oliver Burkeman The Other Side of Sadness by George Bonanno The Violin Maker by John Marchese Foundation | IMDb Stillness Is the Key by Ryan Holiday Last Meals | YouTube Reconcilable Differences | Relay Unreasonable Hospitality by Will Guidara Unreasonable Hospitality: The Secret to an Audience That Never Leaves | Nathan Barry Show #127 On B.S. by Harry Frankfurt The Odyssey by Homer, Emily Wilson translation Shark Slider Pico | iFootage Plaud Note Pro Govee

Join the guys this week for a quick takedown of three recent translations of Homer's Odyssey, courtesy of Prof. Richard Whitaker of the University of Cape Town (Acta Classica, 2020). In six weeks, the Christopher Nolan adaptation of the Odyssey will hit the big screen, based on Emily Wilson's translation. But does this new rendition of the epic have sufficient gravitas, not to mention accuracy, to carry the story? Dave and Jeff look at this question from as many angles as a 30-minute episode will allow, including: style, word choice, faithfulness to Homer's moral vision, and more. There is also a quick take on the Anthony Verity and Peter Green versions, with their respective strengths. So grab some Classics on the go (take them in kinda between meals) and keep them down! You'll be gurgling all the way to greater Classical profundity. And don't miss secret code words like braggart, and fantastic summer sales, AESTAS15!

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  This week, Emily welcomes Abram Jackson, the Director of Interpretation at the Fine Arts Museums of San Francisco, to talk about his work making museum exhibitions more inclusive and equitable. Abram came to the role through an unexpected path — he was a teacher and dean specializing in ethnic studies at the Bay School when a student's mother asked him to review an audio tour for inclusive language. He fell in love with the work and joined the de Young full-time in 2022. In his role, he reads exhibition labels through an equity lens, a practice he traces back to his very first edit on the Soul of a Nation show, where he revised the description of Fred Hampton's death to accurately name the role of COINTELPRO. The conversation also covers an upcoming Lowrider Culture Celebration at the de Young on June 6th, honoring artist Rose B. Simpson's Lexicon — rebuilt classic cars painted like pottery — planned in partnership with three women lowrider community leaders: Angel Romero, Ruby Ramirez, and Vera Majano. The free public event includes a lowrider exhibit, a screening of the documentary Los Dueños, a DJ, and family art-making activities. About Abram Jackson: Abram Jackson is the inaugural Director of Interpretation at the Fine Arts Museums of San Francisco. Jackson utilizes ethnic studies theories and DEIA practices in partnership with staff to incorporate more inclusive narratives into didactics. Jackson holds a Master of Arts in Ethnic Studies from San Francisco State University and a Master of Teaching in Social Studies from the University of Southern California. Jackson has fifteen years of administrative and teaching experience at the high school level, including seven at The Bay School of San Francisco as a humanities teacher and junior class dean, adjunct lecturer at San Francisco State University and at education programs for incarcerated people in California.  Connect with Abram:  LinkedIn Profile Follow Abram on Instagram:  @Interpreting_Abram For Details About The Lowrider Culture Celebration on June 6 at the de Young - CLICK HERE Learn More About Rose B. Simpson Lexicon HERE -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

My guest on this week's Book Club podcast is Emily Wilson, the scholar and translator of Homer and Seneca, among many others. She tells me what tech bros get wrong about the classical world and what Cardi B can teach us about Aristophanes, as we discuss her new book, Crossing the Wine-Dark Sea: Journeys Through Ancient Literature.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcastsContact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

Canon by Paige Lewis is a surreal and hilarious tale of godly proportions. Paige joins us to talk about story structure, character, heroes, epic poetry, genre and more with cohost Jenna Seery. This episode of Poured Over was hosted by Jenna Seery and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Canon by Paige Lewis Annie Allen by Gwendolyn Brooks Midwinter Day by Bernadette Mayer The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson The Iliad: Translated by Emily Wilson by Homer The Odyssey: Translated by Emily Wilson by Homer Aniara by Harry Martinson The Beheading Game by Rebecca Lehman Babylon, South Dakota by Tom Lin Seek Immediate Shelter by Vincent Yu  

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  This week, Emily interviews Emory Douglas, the Black Panther Party's Minister of Culture and revolutionary artist. The episode centers on a retrospective of his work, Emory Douglas in Our Lifetime, on view at San Francisco's African American Arts and Culture Complex. About Artist Emory Douglas: The former Minister of Culture and Revolutionary Artist for the Black Panther Party, Douglas helped define the aesthetics of protest at the height of the Civil Rights era, cementing his status among the 20th century's most influential radical political artists. Throughout the 1960s and 1970s, he designed all but one of the Party's newspapers, each issue marked by the artist's bold, figurative illustrations outlined in thick black line and contrasted with bright colors, block text, and photomontage. The clearly rendered imagery, applied to a range of printed media from newspapers to posters, notecards, and pins, became a hallmark of liberation movements around the world, as supporters calling for an end to the oppression and subjugation of Black, Indigenous, and other communities sought to project a spirit of shared struggle through a common artistic vocabulary. Douglas was born in Grand Rapids, Michigan. In 1951, his family relocated to San Francisco, where he continues to live today. Widely known as an epicenter of radical countercultural politics in the post–World War II era, the city was also deeply divided and segregated, and it was the injustices that Douglas observed as a child that informed his political ideology as an adult. Beginning in the early 1960s, as a student of commercial art at City College of San Francisco, Douglas made frequent trips to nearby San Francisco State University to see civil rights leaders like Amiri Baraka, Stokely Carmichael, and H. Rap Brown speak. He soon lent his talents to the nascent Black Arts Movement, creating fliers and other promotional artworks to advertise events held across the city. These formative experiences solidified his intentions to dedicate his work to the broader struggle for Black liberation that was taking shape around him. In January 1967, Douglas met Huey Newton and Bobby Seale, two young activists from nearby Oakland, who, months earlier, had founded the Black Panther Party (BPP). Black self-determination was the Party's primary motivation, seeking to improve the position of underprivileged people of color in America through “whatever means necessary.” The organization initially focused on an individual's right to bear arms for defense against police violence, but its attention eventually turned to social justice issues like free breakfast for school children and fair housing. Seeking to promote their civil rights agenda to a primarily Black American audience, the Panthers developed a newspaper, the first of which Seale created and published in April 1967. That first issue was simple in layout and design, leading Douglas to offer his expertise in print production, understanding the power that strong visuals could lend to political action. Beginning with the second, he designed every issue thereafter—some 537 newspapers, from 1967 until it ceased publication in the early 1980s. Douglas quickly rose through the ranks of the organization: he was officially named its Revolutionary Artist and, eventually, Minister of Culture, overseeing all aspects of the BPP visual identity. Douglas's familiarity with the print production process was a fruitful asset, as he employed simple tools like markers, rub-off type, and prefabricated texture materials to create his visually impactful designs. To keep costs low, each paper was printed in one or two colors—black ink, often with a contrasting bright color. His illustrations shone a spotlight on state-sanctioned brutality, depicting law enforcement officers and politicians as pigs, while also portraying Black people bearing arms and defeating their oppressors. Some issues featured images of Black suffering, lambasting the political establishment for failing to meet the basic needs of people of color across the United States. Douglas strategically employed photomontage as well, integrating photographs alongside text and illustrations to emphasize urgent issues facing the Party. The impact and influence of Douglas's designs underscored the importance of a consistent graphic strategy in conveying complex political messages in very simple terms. This success was underscored by the massive global distribution of the newspaper and the frequent use of Douglas's illustrations in the political campaigns for organizations like the Organización de Solidaridad con los Pueblos de Asia, África y América Latina, Organization of Solidarity with the People of Asia, Africa, and Latin America, known as OSPAAAL. Despite the popularity of the Panthers' programs and their frequent struggle against the established white political order, the Party was disbanded in the early 1980s. Douglas continues to work as a political artist and activist, producing work that seamlessly translates complex political issues into easily understood illustration, a hallmark of the pieces he produced as a member of the Panthers. His striking figural illustrations connect him to generations of American artists like Elizabeth Catlett, Aaron Douglas, and Charles White, while his combining of type and image draw on generations of political art emanating from across the world, including contemporaries working in Cuba during the Communist Revolution. Deeply bound to American history and politics, his imagery evokes a powerful, globally resonant narrative. For more on Emory, CLICK HERE.   To learn about the exhibit honoring Emory's revolutionary work, CLICK HERE. -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Will Christopher Nolan's most expensive film ever be a flop? We're diving into the massive controversy surrounding The Odyssey (2026), from the Emily Wilson translation drama to the latest casting rumors. Plus, we discuss the shock return of Star Fox on Nintendo Switch 2, Thoughts on Pragmata now that I've played it and the new Lord of the Rings News Donate Here - https://www.paypal.com/donate?hosted_button_id=Y6TSU94STL9PU All our Links - https://linktr.ee/theundergroundxn What is our Value for Value System? Value for Value is a listener based business model where you determine the value our content is worth. If you feel you are getting value from our content, please consider becoming a supporter by donating your time, talent, & treasure. Time: meaning any effort you put in to improving or developing our content or sharing it. Talent: meaning any skills you possess that you want to contribute to help us develop our platform (ie., artwork for podcast episodes, branding design, editing, etc). Treasure: pay a one-off amount or a recurring contribution for the value you think our service is worth. Please be sure with any payment you send via PayPal to include a note, so that we can read it on the livestream, if you'd like. Your donations keep our content advertisement free. Thank you. Where do you support us? Click the direct.me link to find our PayPal link for contributions as well as our YouTube, TikTok, Instagram, and Twitter links! We appreciate the engagement from all of you! Please note any amount will remain anonymous upon request. All donors will receive a special mention on the show unless otherwise noted. Special Note: The Value for Value business model originated with Adam Curry & John C. Dvorak of the No Agenda Podcast. https://www.youtube.com/watch?v=PgihPtnBSek

This is a free preview of a paid episode. To hear more, visit claremontinstitute.substack.comThe Odyssey: Homer's epic tale of a man's harrowing return home from war. Today, the object of gender-critical, woke narrative extremes in translator Emily Wilson's rendition—and potentially in Christopher Nolan's upcoming adaptation. Spencer Klavan and Ryan Williams discuss the rumors and reports about the summer film's casting: Zendaya as Athena, Lupita Nyong'o as Helen, Travis Scott as the poet Demodocus, and possibly Elliot Page (formerly Ellen Page) as Achilles. Will Nolan somehow pull it all together, or deliver a steaming pile of Woke?

Netflix's 'The Roast of Kevin Hart' has ignited a fierce new culture war debate after a barrage of controversial jokes sparked backlash from across the political spectrum. The roast - featuring material touching on racism, sexism, ableism, antisemitism, the assassination of Charlie Kirk, George Floyd and more - has been praised by some as proof that “woke culture” is finally losing its grip on comedy, while others argue it crossed multiple lines. As outrage erupts online, the discussion has reopened old questions about cancel culture, free speech, and whether offensive comedy should have any limits at all. Can comedy ever go too far? If so, where is the line and who gets to decide? Piers Morgan is joined by comedian and host of Part of the Problem, Dave Smith, PBD Podcast contributor Adam Sosnick, host of Emily Saves America, Emily Wilson, and author, commentator and YouTuber Jay Dyer to debate. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're deep diving into one of our favorite historicals from the 00s today — Jennifer Ashley's The Madness of Lord Ian Mackenzie. It's a great follow up to our Paris episode last week, but we also talk about how Ashley really wrote the heck out of this book. We talk about widows, about sex in historicals, about autism rep in historicals, romance families, and the way this series electrified us as readers. This book is a straight up banger.If you're interested in learning more about the AH2 Historical Trailblazer Kickstarter, featuring beautiful, hardcover special editions of Lord of Scoundrels, Indigo, The Magpie Lord, Butterfly Swords and Dreaming of You, head over to the Kickstarter page and sign up for updates!If you'd like to continue the conversation about The Madness of Lord Ian Mackenzie or any of Jennifer Ashley's other books, please come join the Fated Mates Discord, which is accessible to our Patreon subscribers. By joining the Patreon, you meet other Fated Mates listeners and get an extra monthly episode from us. Support us and learn more at fatedmates.net/patreon.Our next read along is Seven Days in June by Tia Williams. Get it at Amazon, Barnes & Noble, Kobo, Apple Books, wherever you get your books, or with your monthly subscription to Kindle Unlimited.NotesCheck out the AH2 kickstarter, partnering with Fated Mates and Julia Whelan's Audiobrary. It goes live next week!Dua Lipa met her fiance Callum Turner because they both were reading the same book, Trust by Hernan Diaz. Dua Lipa's book club is called Service 95.You, too, might enjoy reading Dungeon Crawler Carl. Or Reacher. Or Murderbot. Jen is thinking of going to bedazzle a copy of Dungeon Crawler Carl, but is that too silly?Dorchester Publishing was a house that published mostly mass market paperbacks, and it shuttered shortly after the publishing of The Madness of Lord Ian MacKenzie. The editor of the book, Leah Hultenschmidt, is now at Forever.There's a new-ish translation of The Odyssey by Emily Wilson that you might like. Xenia is the ancient Greek word for hospitality, and Wilson talks a about how the word comes from the root xenos, meaning both stranger and friend. Maybe if we were all a little more open to those we don't know, things would be different.SponsorsHarperCollins, publishers of Laurie Gilmore's The Daisy Chain Flower Shop, available in print, ebook or audiobook at Amazon, Barnes & Noble, Kobo, Apple Books, or wherever you get your books.Michelle Ruoff, author of A Summer to Stay, available in print, ebook and with your monthly subscription to Kindle Unlimited.Jennilynn Wyer, author of All Our Next Times, available in print, ebook and audiobook, or with your monthly subscription to Kindle Unlimited.The RestFor even more info about this episode, and to explore everything Fated Mates has to offer, visit: https://fatedmates.net/episodes/2026/5/4/0833-the-madness-of-lord-ian-mackenzie If you wish you had six more days in a week of people talking about romance, may we suggest joining our Patreon? Aside from an additional episode every month you get access to our Discord, where other romance readers are talking about books they love (and many other things!) all the time. It's so fun! Learn more about the Patreon and go join those cool people who love romance as much as you do at patreon.com/fatedmates. Beyond your favorite podcast app, you can find us on Instagram, Threads, Blue Sky, Tumblr, and probably some other places, too, if you look hard enough. If you've never listened to our Stop Book Banning episode, there's no better time than now.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  This week, Emily chats with Kara Maria, a painter and printmaker based in San Francisco Episode Highlights: Kara discusses her large-scale wood panel print on display at Chase Center in San Francisco, created at Magnolia Editions in Oakland with master printer Tallulah Terrell How a monarch butterfly painting became the starting point — and then had to be modified — for the Chase Center commission Her colorful aesthetic, rooted in 1970s cartoons, Spirograph, comic books, and Japanese woodblock prints (particularly Hokusai) The influence of her husband, Mexican artist Enrique Chaya, and their travels to Mexico on her color palette Childhood memory of a school librarian who gave her a shelf in the library for her handmade illustrated books Her journey from music school to painting — and why she knew she could never stop making art Her love of Bay Area edges: the Marina, Ocean Beach, and the view from Mount Davidson Why her studio, SF MoMA, the de Young, and the Legion of Honor all hold special meaning About Artist Kara Maria: Kara Maria is a visual artist working in painting, drawing, printmaking, and public art. Her recent work addresses climate change, biodiversity loss, and their significant impact on humanity. She meticulously paints miniature portraits of threatened, endangered, and extinct animals amid fields of flying shapes, twisting lines, and swirling colors. These works celebrate the joy and exuberance of life, emphasizing the incredible variety of existence on our planet. Maria received her BA and MFA from the University of California, Berkeley. She has exhibited work in solo and group shows across the United States at venues such as the de Saisset Museum at Santa Clara University, CA; the Sonoma Valley Museum of Art, Sonoma, CA; the Nevada Museum of Art, Reno, NV; the Contemporary Arts Museum, Houston, TX; and the Katonah Museum of Art in New York. Maria has been selected for awards and honors, including the Masterminds Grant from SF Weekly; a grant from Artadia; and an Eisner Prize in Art from UC Berkeley. Her work has received critical attention in the San Francisco Chronicle, the Los Angeles Times, and Art in America. She has been awarded artist residencies at the Montalvo Arts Center, the Recology Artist in Residence Program, Djerassi Resident Artists Program, and the de Young Museum Artist Studio. Maria's work is part of the permanent collections of the Berkeley Art Museum and Pacific Film Archive; the Cantor Arts Center at Stanford University; the Crocker Art Museum, Sacramento; the Fine Arts Museums of San Francisco; the Frederick R. Weisman Art Foundation, Los Angeles; the Museum of Fine Arts, Houston; and the San Jose Museum of Art, among others. Born in Binghamton, NY (1968), Kara Maria now lives and works in San Francisco, CA. Links & Resources: Visit Kara's Website: KaraMaria.com Follow Kara on Instagram:  @Kara Maria Art Kara Maria's work is on display at Chase Center as part of the Homegrown Series (alongside work by Masako Miki, featured in Episode 60) CLICK HERE FOR MORE INFO -- Coming Up Next: Episode 70 on May 19th — Emery Douglas, graphic artist and former Minister of Culture for the Black Panther Party. His show Emery Douglas: In Our Lifetime is at the African American Art and Culture Complex in San Francisco through October. -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  In this episode, Emily talks with San Francisco based artist Chad Hasegawa, known for his minimalist, bold abstract style. Chad grew up in Hawaii, moved to San Francisco inspired by the Mission School art movement, and studied advertising at the Academy of Art University before becoming a full-time painter. He discusses how artists like Franz Kline and Mark Rothko shaped his goal of creating work that stirs deep emotion without explanation, and how painting murals on the street — and the raw reactions from passersby — reinforced that vision. Chad is currently painting a mural on shipping containers at the entrance to the San Francisco Art Fair at Fort Mason (April 16–19) and will have a solo presentation at the Good Mother Gallery booth inside the fair. About Artist Chad Hasegawa: Chad Hasegawa is a San Francisco-based artist and a graduate of the San Francisco Academy of Art. Hasegawa's art is a quest for simplicity and emotional resonance. His approach, deeply rooted in minimalism, focuses on reducing complexity to reveal the essence of feeling and reason. Hasegawa believes in stripping away the unnecessary, leaving behind art that genuinely connects with the viewer through color and form. This process, a balance of adding and subtracting elements, aims to capture pure emotion rather than narrate stories. His work is a deep exploration into the intrinsic structures that shape our perceptions. His work is not just an artistic expression; it is a blueprint for understanding and experiencing the world. Through the lens of minimalism, Hasegawa meticulously crafts each piece to serve as a map, guiding viewers through a landscape of feelings and ideas. The essence of his art lies in this careful balance of elements - each subtraction and addition serves a deliberate purpose, ensuring that every stroke, every color, and every form contributes to the overarching narrative of emotional truth. He strips away the extraneous, focusing on the elemental to evoke a raw, unfiltered emotional response. This purity of expression allows the viewer to connect deeply with the work, engaging not just with the art but with their own inner landscapes of emotion and thought. His work reshapes our understanding of art and its purpose, emphasizing the importance of simplicity in a complex world. By removing the superfluous, his work allows us to appreciate the fundamental aspects of life and art. Hasegawa's work uniquely blends emotion and reasoning, ensuring each piece is both meaningful and emotive. When his work lacks feeling, he enriches it with emotion; when it lacks purpose, he refines it to its core. This balance is Hasegawa's signature, making his art a powerful statement in the ongoing evolution of minimal abstraction and its role in shaping our future. For more from Chad, CLICK HERE.  Follow Chad on Instagram:  @ChadHasegawa For more about the San Francisco Art Fair at Fort Mason - CLICK HERE -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This episode is philosophizing, listener! Chelsea Cutler is a singer, songwriter, producer, and one of your favorite queer musicians with over 3 billion global streams and worldwide tours, but today she's in the apartment to take a tour through your BODY. In addition, we have the incredible comedian Emily Wilson filling in as co-host! We discuss queer identity, when one can claim that they're gay, the power of music, and how queerness is, like, totally a dope space. Ashley found romance through Chelsea Cutler. Emily has a crush on Ashley. FOLLOW CHELSEA CUTLER: Listen to “Sorry I'm Obsessed With You” RIGHT NOW: https://chelseacutler.lnk.to/SORRY Videos and More: https://linktr.ee/chelseacutler  Instagram: https://www.instagram.com/chelseacutler/  TikTok: https://www.tiktok.com/@chelseacutler  Twitter: https://x.com/chelseacutler  FOLLOW ASHLEY GAVIN @ashgavs TikTok: https://www.tiktok.com/@ashgavscomedy Instagram: https://www.instagram.com/ashgavs/ YouTube: https://www.youtube.com/@ashgavs Twitter: https://twitter.com/ashgavs Tour Dates & Newsletter: https://www.ashleygavin.com/#dates FOLLOW EMILY WILSON @therealemilywilson See her live in Austin, TX: https://www.therealemilywilson.com/  Watch her special, “FIXED,” now: https://www.youtube.com/watch?v=L9LL4lM3fbk  TikTok: https://www.tiktok.com/@therealemilywilson  Instagram: https://www.instagram.com/therealemilywilson/  PRODUCED BY ALEX VRAHAS: Instagram: https://www.instagram.com/alvrahas/   SUPPORT OUR PODCAST: Watch this UNCUT: https://www.patreon.com/WHGS Merch: https://shop.merchcentral.com/collections/ashley-gavin Watch on this YouTube: https://youtu.be/MoEMTkLqzKE Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  Today, we are paying tribute and remember Tosha Stimage, who passed away earlier this month.  We are revisiting Emily's conversation with Tosha back in 2024, as they discuss her artistic journey, from her childhood experiences with nature to her current projects and inspirations. Emily highlights her creative process, experiences during the pandemic, and her upcoming installation at the Presidio Tunnel Tops. About Artist  Tosha Stimage: Tosha Stimage is an Oakland-based multi-disciplinary artist who uses a variety of art mediums to examine how we create language. Her paintings, collages, installations, and floral sculptures “use experimentation to re-contextualize physical material and histories with fresh perspectives,” she shared. As the founder of SAINTFLORA, a full-service floral design company specializing in “unconventional flower experiences”, Tosha is also a local entrepreneur and the third and final artist within the Presidio's Public Art Mentorship Program. In July 2024 Tosha will create and install a large-scale art installation to transform the space between the Presidio Transit Center and the enclosed Picnic Pavilion at Presidio Tunnel Tops.  “Flowers put us back in the ‘circle' and connect us to labor, land, and each other,” Tosha shared. “I'm incredibly excited to explore the flora of the Presidio and use it to spark curiosity and fresh perspectives. Nature provides an accessible and inclusive entry way for dialogue around complex social and environmental topics.”  Honor the legacy of Tosha and support her family by gifting her GoFundMe HERE.  Visit Tosha's Website:  ToshaStimage.com Support Tosha's Floral Shop: SaintFlora.com Follow Tosha on Instagram:  @SaintFloraCo Check out Emily's 48Hills article about Tosha's 'SUPERBLOOM' back in 2024 - CLICK HERE -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area.  Host Emily Wilson sits down with Maria Jenson, executive director of SOMArts Cultural Center in San Francisco. Maria shares her journey from dancer and playwright to arts administrator, including stops at SFMOMA before finding her home at SOMArts. The conversation covers Cece Carpio's solo exhibition Tabi Tabi Po: Come Out with the Spirits, You Are Welcome Here, featuring found objects, poetry-infused wall text, and immersive altar installations that blend Bay Area and Filipino cultural traditions. Maria explains why SOMArts returned to solo shows after focusing on group exhibitions — to amplify community artists ready for bigger platforms. Maria also discusses the "Artists Live Here" cultural convening, which drew over 400 people in response to the announced closures of California College of the Arts and the Mission Cultural Center for Latino Arts. Designed as an "unconference" with no slides and no panels, the gathering channeled grief and anger into collective action and joyful community building. Other topics include SOMArts' annual Día de los Muertos exhibition, the Murphy and Cadogan Awards for Bay Area MFA students, and how Maria organized an art fair at the Tenderloin's Phoenix Hotel that brought together galleries, local artists, and civic partners. She credits advocate Ebony McKinney as a major influence and finds creative inspiration in the Bay Area's natural landscape. About Creative & Exective Director Maria Jensen: Maria Jenson is recognized as a leader in the arts for advancing innovative strategies to sustain creative communities in the midst of rapidly changing urban environments. As Creative and Executive Director of SOMArts, Jenson has deepened the organization's commitment to racial equity, creating clear pathways for Bay Area artists to cultivate new ideas and grow their careers. Through her leadership, Jenson has expanded SOMArts' public programs, advanced new public-private partnerships, and fostered groundbreaking exhibitions such as The Black Woman is God, The Third Muslim: Queer and Trans* Muslim Narratives of Resistance and Resilience, and many more. These projects represent SOMArts' commitment to incubating the growth and careers of Bay Area artists and curators. Prior to joining SOMArts, Maria was a key member of the SFMOMA External Relations team during the museum's expansion and was the Founding Director of ArtPadSF, an independent art fair launched in the Tenderloin at the Phoenix Hotel in 2010. A graduate of the 2018 Getty Foundation Executive Leadership Institute, she is a sought-after thought leader on the role of cultural institutions advocating for a more democratic and equitable society. Visit SOMArts Website: SOMArts.org Follow SOMArts on Instagram: @SOMArts For more about the Cece Carpio exhibit at SOMArts, CLICK HERE.  -- About Podcast Host Emily Wilson: Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco. Follow Emily on Instagram: @PureEWil Follow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast -- CREDITS: Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson.  Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License The Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions.  For more info, visit Go-ToProductions.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Dating today feels exhausting. Confusing. And for people from divorced or dysfunctional families, it can feel even heavier — because one wrong choice doesn't just mean heartbreak… it can feel like repeating your parents' story.In this episode, Joey sits down with Emily Wilson, Catholic author and co-founder of Sacred Spark, to talk about the most important factor in building a healthy marriage: choosing the right person — and why modern dating culture makes that decision harder than ever.Emily shares what she's learned from helping nearly 20 couples get married through her viral matchmaking posts, why you can't “analyze” your way into certainty, and how real discernment only happens when you actually meet people in real life.In this episode, we cover:Why choosing who you marry matters more than anything elseThe fear of repeating your parents' mistakes (and how to move past it)How real discernment happens through in-person datingA NEW way to meet high quality, virtuous peopleIf you're single, want marriage, but feel anxious, stuck, or afraid of choosing wrong — this episode is for you.Download Sacred SparkFREE Video Series: Dating 101Visit SacredSpark.appGet the Book or FREE chapters: It's Not Your FaultGet Dakota's FREE Guide, The Biggest Fitness Mistakes to AvoidWatch the Documentary: KennyWatch the Trailer: Kenny (3:31 min)Shownotes