Podcasts about Eshu

Guess whose back , join @comicmartin and @thanya_aggayu as we chat about Eshu,Orisha and good vibrations .   Follow/like/share Brujo101  Have a idea for the podcast reach out at asheimportsca@GMAIL.COM

Mark wonders if it's finally happened. If he's found what he's searched for so many years. A spiritual awakening. Mark is ushered to a tub filled with water and herbs.Necklaces are held out in front of him, and it takes a moment to realize he's supposed to pick. He chooses one. The man holding the necklace mumbles, “Eshu. Trickster.”Mark is told to kneel, his head then submerged in water. Baptized. When Mark comes up gasping for air, herbs are being rubbed into his skin. He knows from within he is a new person.Join Black Label on Patreon at https://www.patreon.com/obscuracrimepodcastSupport this podcast at — https://redcircle.com/obscura-a-true-crime-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

J.D. and Dash react to Alec Baldwin's reality show, Hannibal Burress being a rapper, and Apple's iOS updates.

Shango receives a new powerful medicine from Eshu but is it too powerful? References: Cuoco, Alex. African Narratives of Orishas, Spirits and Other Deities --- Support this podcast: https://podcasters.spotify.com/pod/show/theasheshop/support

The trickster Gods and Goddesses are famous in different religions and mythology all around the world. and well known for their special abilities and powers. They hold control over the minds of the local people. And are known for their ill doings, treachery, deceit, betrayal and many other things.   From stories of the dangerous Loki to the dancing Kokopelli. History has seen that all these troubles making Gods and tricksters always had a purpose behind their trouble making plans and notorious behaviour.   In this storytelling edition of the SASO Podcast, I will present 5 stories from different times and cultures. Featuring very entertaining tales of Loki, Ananzi, Eshu, Wisakedjak and Laverna.

Fjorton år efter Lee Alexander McQueens död stiger en ny, ung och okänd designer in på modehuset McQueen. Seán McGirr tar över efter Lees nära medarbetare Sarah Burton som på ett värdigt och smakfullt sätt förvaltat Lee's arv i över ett decennium. Seán McGirr ska in och representera en nystart, ett skifte till något ungt och energifyllt. Pliktskyldigt går han igenom arkiven och gör sin moodboard men... Frågan är om stan ens i sin värsta mardröm kunde föreställa sig internets reaktioner efter att den sista modellen klampat ut från catwalken? I det här bonusavsnittet går vi igenom hela denna hot mess som McQueens modehus plötsligt förvandlats till. Borta är den intensiva och provokativa utforskningen av skönhet och smärta som modehuset McQueen blivit känt för, istället får vi Kate Moss anno 2005 och en trasig iPhone...(?) Vi frågar oss vem vi hellre skulle sett på posten än McGirr och vi forskar i vilka plagg ur McGirr-kollektionen vi skulle välja att ta på oss...om vi blev tvingade. Varning! Se hela McGirr för McQueen-visningen här! Två förtydliganden: I avsnittet pratar vi om "Eshu" – dvs Lee Alexander McQueens sextonde kollektion, höst/vinter 2000. Se bilder exempelvis här. Modeskaparen "Dilara" som nämns i avsnittet är Dilara Fındıkoğlu. För den som vill utforska hennes skapande kan man göra det t ex här. Följ Modegalaxen på instagram för mer om veckans avsnitt!  

Tribulation et Transcendance, Yalorisha en Solo.Dans ce épisode, nous partons à la découverte de l'esprit Eshu... [QUIZZ] Dévoile la déesse qui sommeille en toi. Découvre quelle Déesse du chamanisme afro-brésilien vibre le plus proche de toi.https://yalorisha.com/quizz-reveille-la-deesse-qui-sommeille-en-toi/

ATTENDEES Aakeem Eshu, Daniel Olney, Keith Rollins AGENDA New Business Discuss the evolution from Betrayal and Liberation 2 to Digital Audio to Black Rabbit.   Discuss Black Rabbit in depth.  intro and outro by andrew

Habia una vez un gran orisha (dios) Obatala, Este dios era el creador de la humanidad,  y un día decidió visitar a Shangó, el orishá o dios del trueno y del relámpago, que vivía y reinaba en la ciudad de Oyo.Obatala no usaba tambores que anunciaran su presencia. En cambio vestía de un blanco tan absoluto y tan perfecto que todos lo reconocían a distancia por su brillo. Le llamaban «El rey vestido de blanco».Por eso, cuando su esposa supo que su marido quería partir de viaje para visitar a su amigo Shangó, su primera preocupación fue que la ropa de Obatala estuviera impecable. Sin embargo, esa noche tuvo un mal sueño.-Obatala, no deberías ir a Oyo -le dijo a la mañana siguiente a su marido. Soñé que tus prendas blancas no se podían limpiar. Las manchas parecían desaparecer cuando las sumergía en el agua, pero apenas se secaba la ropa, se notaban otra vez.-Pero ahora estás despierta y mi ropa está impecable -dijo Obatala. Y yo me voy a Oyo.Sin embargo, alguna duda le había quedado, porque decidió consultar a Orunmila, el orishá de las profecías.Orunmila arrojó sobre la bandeja unas nueces de palma y, al ver cómo caían, frunció el ceño.-No vayas, Obatala. La desgracia te espera en Oyo.-No puedo sospechar de mi amigo Shangó -dijo Obatala, enojado.Y vestido con sus blanquísimas prendas, comenzó a caminar hacia Oyo. Por el camino se encontró al orishá Eshu, que estaba sentado bajo un árbol junto a una vasija llena de aceite de palma.-Por favor, Obatala -le pidió. ¿Podrías ayudarme? Necesito que me pongas la vasija sobre la cabeza para poder llevármela. Yo no tengo bastante fuerza.Pero cuando Obatala levantó la vasija, unas gotas de aceite mancharon su ropa, de modo que tuvo que volver a su casa para cambiarse antes de reemprender el camino.Por segunda vez se encontró con Eshu. Ahora la vasija era más grande y el pobre Eshu parecía desesperado. Obatala, famoso por su generosidad y sus buenas acciones, lo ayudó una vez más. Por supuesto, volvió a mancharse con aceite y tuvo que volver a su casa.La tercera vez que se encontró en Eshu, la vasija de aceite era gigantesca.-Eshu, tendrás que disculparme, pero estoy un poco apurado -le dijo. Las manchas en su ropa lo tenían preocupado. Eran un mal presagio.-¿Te niegas a ayudarme? -gritó Eshu, enojadísimo.Eshu era famoso por las locuras que era capaz de hacer cuando lo dominaba la ira. Ahora, empujando con las dos manos el enorme recipiente, lo hizo caer, manchando más que nunca la blanca ropa de Obatala.Esta vez el creador de la humanidad decidió seguir adelante, aun con su ropa manchada de aceite. Caminó y caminó a la velocidad que solo un orishá puede darle a sus pasos. Hasta que, en las cercanías de la ciudad de Oyo, vio un hermosísimo caballo blanco que pastaba suelto entre un grupo de arbustos.«Este caballo solo puede ser de Shangó» pensó Obatala. «Se ha perdido y lo deben de estar buscando. Se lo llevaré de vuelta». Y tomando al caballo por la brida, siguió su camino.En ese momento apareció un grupo de servidores de Shangó que estaban buscando al caballo. Cuando vieron que Obatala lo tenía, se lanzaron sobre él y comenzaron a golpearlo brutalmente.-¡Este es el ladrón, que reciba su merecido! -gritaban.Golpeándolo sin parar, sin escucharlo, ni prestar atención a sus protestas, los criados llevaron a Obatala a la cárcel de Oyo y allí lo encerraron en un calabozo. Con su ropa toda sucia de aceite, ¿quién iba a creer que él era de verdad el famoso rey vestido de blanco?El tiempo pasaba y Obatala seguía encerrado. Shangó nada sabía de lo que había sucedido porque ninguno de sus servidores consideró que se tratara de un asunto de tanta importancia como para llegar al gran orishá. La bondad de Obatala estaba llegando a sus límites. Harto de ser maltratado, harto de que nadie lo escuchara, decidió que era hora de usar sus poderes. Y

Eshu is the most powerful of all Earthly deities. Eshu is a trickster, creator of whirlwinds... chaos.   Intro and Outro Music by  Corpus Earthling: https://corpusearthling.bandcamp.com/  

Let us ask it in the form of a question…what is it about a good villain? Isn't it juicy sometimes to think about what sort of villain you'd be? And what do villains represent, what do they teach us?We're going to have a look at some stories, scope out our favourite characters and attributes. We hope you enjoy the show!Now some notes…firstly, our list* Yzma* Magneto* “Man” as portrayed in Fern Gully, Julie of the Wolves, Avatar, * Agent Smith* The Skeksi * Jafar* Ursula * Maleficent * The Nothing* Sauron* The Jana'ata- the Reshtar (from The Sparrow)* The White Witch and The Snow Queen* Boyd Crowder from Justified* Donald Whitfield from 1923Self reflection prompts:* What makes a good villain and how do they get made?* What do they represent? * What can they teach us?* What parts of them make them well rounded?* Talk about the difference between “real life” villains and story book ones* What are healthy ways we can resolve pain and shame outside of violence and retribution?The music we use for our podcast entitled “Whimsical Aliens”  was written and performed by Alejandro Bernard from Ithaca NY.  Subscribe and like his music tutorials on Youtube they are so charming. You can become a patron to his work tooOur podcast project is edited and produced by Bjorn. Rudo's first encounter with chat GPTchat GPT transcript: Rudo's prompt- Who are some good villains? Darth Vader (Star Wars) - A powerful Sith Lord with a tragic backstory.Lord Voldemort (Harry Potter series) - The dark wizard seeking power and immortality.The Joker (Batman) - An anarchic and unpredictable criminal mastermind.Sauron (The Lord of the Rings) - The dark lord seeking to conquer Middle-earth.Hannibal Lecter (The Silence of the Lambs) - A brilliant and cannibalistic serial killer.Iago (Othello by William Shakespeare) - The manipulative and scheming antagonist.Count Dracula (Dracula by Bram Stoker) - The classic vampire villain.Cruella de Vil (101 Dalmatians by Dodie Smith) - The infamous dog-napper with a penchant for fur.Wicked Witch of the West (The Wizard of Oz by L. Frank Baum) - The iconic antagonist in the magical land of Oz.Norman Bates (Psycho by Robert Bloch) - The disturbed hotel owner with a sinister secret.These characters have left a lasting impact on literature, film, and popular culture. Keep in mind that opinions on the "greatest" villains may vary, and there are many other memorable villains not included in this list.Pick the top villains from all the largest civilisations in history from all timeChatGPTSelecting the top villains from the largest civilizations in history is a complex task, as it involves considering different time periods, cultures, and perspectives. Additionally, what may be considered a villainous figure in one culture could be viewed differently in another. Nevertheless, here are some figures from various civilizations who are often considered significant antagonists:* Ancient Egypt: Set (Seth) - The god of chaos and storms in Egyptian mythology, often portrayed as a disruptive force.* Ancient Greece: Medea - The sorceress and wife of Jason who commits heinous acts, including killing her own children, in revenge.* Roman Empire: Nero - The Roman Emperor known for his tyrannical rule and alleged persecution of Christians.* Ancient China: Empress Wu Zetian - The only female emperor in Chinese history, known for her ruthless tactics and consolidating power.* Mesopotamia: King Hammurabi - While known for his code of laws, Hammurabi's methods of enforcing justice were often brutal and tyrannical.* Persian Empire: Xerxes I - The Persian king who led the invasion of Greece, depicted as a formidable adversary in Greek history.* Indian Civilization: Ravana - The antagonist in the Hindu epic Ramayana, a powerful demon king with ten heads.* Mongol Empire: Genghis Khan - While a great military leader, Genghis Khan is often viewed as a ruthless conqueror who caused widespread destruction.* Aztec Empire: Moctezuma II - The emperor during the Spanish conquest, whose actions and decisions are debated among historians.* Inca Empire: Atahualpa - The last emperor of the Inca Empire, captured and executed by the Spanish conquistadors.Certainly! Here are villains from folk tales representing each continent:* Africa: Anansi (Various African cultures) - Anansi the spider is a trickster figure in African folklore, known for his cunning and deceitful behavior.* Asia: Ravana (Hindu mythology, India) - The ten-headed demon king from the Ramayana, who kidnaps Sita and is defeated by Lord Rama.* Europe: The Big Bad Wolf (Various European cultures) - A common antagonist in European fairy tales, such as Little Red Riding Hood and The Three Little Pigs.* North America: Wendigo (Algonquian folklore, Native American) - A mythical creature or evil spirit associated with cannibalism and greed in Algonquian mythology.* South America: El Chupacabra (Latin American folklore) - A creature said to attack and drink the blood of livestock, often portrayed as a villain in Latin American folklore.* Australia: Bunyip (Aboriginal Australian folklore) - A mythical creature in Australian Aboriginal mythology, often associated with waterholes and depicted as a dangerous spirit.* Antarctica: N/A (No indigenous population) - Antarctica doesn't have indigenous human populations, so it lacks specific folk tales with villains.Remember that folk tales can vary widely within continents, and different regions may have their own unique stories and characters. Additionally, interpretations of these characters can differ across cultures and storytelling traditions.pick villains that are people from folk tales, from all continentsChatGPTCertainly! Here are villains from folk tales who are people from various continents:* Africa: Anansi's Son (Various African cultures) - Anansi's son is often portrayed as a mischievous and cunning character who creates trouble for others.* Asia: Lady White (Chinese folklore) - A malevolent spirit in Chinese folklore, Lady White is known for her supernatural powers and often appears as a beautiful woman who brings tragedy.* Europe: Bluebeard (French folklore) - Bluebeard is a wealthy and violent nobleman who murders his wives. His story is a cautionary tale about the dangers of curiosity.* North America: La Llorona (Mexican and Southwestern U.S. folklore) - Also known as the Weeping Woman, La Llorona is a ghostly woman who drowned her children and now wanders, crying, in search of them.* South America: El Silbón (Venezuelan folklore) - El Silbón is a malevolent spirit associated with whistling sounds. He is said to carry a bag of bones and torment those who hear his whistle.* Australia: Yowie (Australian Aboriginal folklore) - Yowies are mythical humanoid creatures in Australian Aboriginal folklore, often portrayed as menacing figures.* Antarctica: N/A (No indigenous population) - As mentioned earlier, Antarctica lacks specific folk tales due to the absence of indigenous human populations.Remember that folk tales can have various versions, and the characters may be interpreted differently in different regions and communities. Additionally, the nature of folk tales often involves moral lessons or warningsThere are many memorable villains from TV and movies, and opinions on the "best" can vary. Here's a diverse list of iconic villains known for their complexity, charisma, and impact on popular culture:TV Villains:* Hannibal Lecter (Hannibal) - A brilliant and cultured serial killer with a taste for human flesh.* Cersei Lannister (Game of Thrones) - A cunning and power-hungry queen with a complex character arc.* Walter White (Breaking Bad) - While initially a protagonist, Walter White transforms into a morally ambiguous character involved in the drug trade.* Sideshow Bob (The Simpsons) - An intelligent and vengeful character with a deep dislike for Bart Simpson.* The Joker (Batman: The Animated Series) - The animated version of the Joker is often praised for its voice acting and psychological depth.Movie Villains:* Darth Vader (Star Wars) - The iconic Sith Lord with a tragic backstory.* Hannibal Lecter (The Silence of the Lambs) - Also a movie villain, Lecter is portrayed by Anthony Hopkins in this classic psychological thriller.* The Joker (The Dark Knight) - Heath Ledger's portrayal of the Joker is widely acclaimed for its intensity and complexity.* Norman Bates (Psycho) - The disturbed hotel owner with a dark secret.* Lord Voldemort (Harry Potter series) - The dark wizard seeking to conquer the wizarding world.* Hans Gruber (Die Hard) - A sophisticated and intelligent terrorist mastermind.* Anton Chigurh (No Country for Old Men) - A cold and remorseless hitman with a twisted sense of morality.* Keyser Söze (The Usual Suspects) - A mysterious and elusive criminal mastermind.* Scar (The Lion King) - The treacherous uncle of Simba, known for his Shakespearean traits.* Agent Smith (The Matrix trilogy) - A relentless and powerful computer program with a disdain for humanity.These villains have left a lasting impact on the entertainment industry and continue to be celebrated for their performances and storytelling contributions.n Slavic, Celtic, Romani, and African folktales who are common villainsChatGPTFolktales from Slavic, Celtic, Romani, and African cultures feature a variety of villains and mythical beings. Keep in mind that folklore is rich and diverse, with many variations of stories. Here are some common types of villains or malevolent beings found in the folktales of these cultures:Slavic Folktales:* Baba Yaga - A supernatural, old witch-like character often depicted as living in a hut that stands on chicken legs. She is known for her capricious and unpredictable nature.* Koschei the Deathless - An evil, immortal figure often portrayed as a skeletal, death-like character. He hides his soul in a needle, which is hidden in an egg, which is in a duck, which is in a hare, and so on.* Domovoi - A household spirit in Slavic folklore, the Domovoi is generally protective, but if offended, it can become a malevolent force within the home.Celtic Folktales:* Púca - A shape-shifting creature in Celtic folklore known for its mischievous behavior. It can appear as a horse, goat, cat, or other animals.* Banshee - A female spirit in Irish folklore, the Banshee is often considered an omen of death and is associated with wailing or keening.* Fomorians - In Irish mythology, the Fomorians are a group of supernatural beings often depicted as hostile and monstrous.Romani Folktales:* Chajdaan - In Romani folklore, Chajdaan is a trickster figure, often depicted as a sly and cunning character.* Devel - A Romani term for the Devil, often appearing in Romani folktales as a deceptive and malevolent force.African Folktales:* Anansi the Spider (Akan folklore) - While Anansi is often a trickster figure, his actions can sometimes lead to negative consequences for others.* Mami Wata - A water spirit found in the folklore of various African cultures. Mami Wata can be benevolent or malevolent, often associated with water and enchanting beauty.* Eshu - A trickster and messenger deity in Yoruba mythology, Eshu is known for his mischievous and unpredictable nature.These are just a few examples, and the actual stories can vary significantly across regions and communities within each cultural group. Folktales often serve as a way to convey cultural values, morals, and lessons.End. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit themagichourdreamcast.substack.com

Eshu the guardian of the Crossroads lives outdoors.

Better make sure you offer Eshu good sacrifices.

Eshu-Elegua is the orisha we all must know about and honor.

Enjoy the story!

Wanderers and storytellers, tricksters and rapscallions... we're diving this week into Kithbook: Eshu and all that it has to teach about this most wonderfully wayward of Kithain. This was the last full-length Changeling: the Dreaming supplement for something like fifteen years, and as presumed final entries go, it was an intriguing one. (The last page of the original print edition, though, with the ad for a book that would never materialize... that was kind of heartbreaking.) We discuss levels of appropriateness for incorporating Yorùbá religion as this book does, get into the weeds about Birthrights, and ask important questions, such as "Talecraft: why?" It's a bittersweet sunset to 2nd Edition, all things told. And what could be more Changeling than that? Wend your way over to https://www.storytellersvault.com/product/174?affiliate_id=3063731 if you'd like to purchase the PDF. And why stop there? Let your path continue to any of the following places to find out more about the show and connect with us: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast your hosts Josh Hillerup (any pronoun) travels by a compass that points in nonexistent directions, like "south–north-up" and "otherwards". Pooka G (any pronoun/they) will put a girdle round about the Earth in forty minutes. 千里之行始於足下。 Qiān lǐ zhī xíng shǐ yú zú xià. [A journey of a thousand miles starts with a single step.] —Laozi, loosely translated

Bonjour à tous et bienvenue dans Callisto, le Podcast qui vous fait voyager à travers les récits mythiques et les légendes. Aujourd'hui, direction l'Afrique à la découverte de l'espiègle Eshu. Bonne écoute ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hannibal Buress (and Eshu Tune) return to the city for a part-comedy, part-music show at the Chicago Theatre on Nov. 2 for 312 Comedy Festival. More than a year after his debut musical album as Eshu Tune, the Chicago-rooted comedian and actor is back with a new hilarious single “I LIFT WEIGHTS!!” And in case anyone was wondering, he *was* lifting weights in the booth while recording his vocals. Hannibal made his way back to the Vocalo studio to talk with hosts Bekoe and Nudia Hernandez about fusing comedy and music, his latest single, opening his own venue and more. This interview originally aired on Vocalo Radio 91.1 FM on Tuesday, Oct. 31 during The Windy City Hour. It was produced by Bekoe and Nudia Hernandez, and edited by Bekoe. Keep up with Hannibal Buress on Instagram @hannibalburess and Eshu Tune @eshutune.

Eshu Tune + Mono neon idea

300c. instrumental. produced by Eshu Tune and TK. by Hannibal Buress

La Dualidad de Eshu, la soledad y la importancia de saber como llamarlo. Mundo Yoruba Latinoamericano Episodio 152 (Parte 3 de 3)

Who's that figure standing at the crossroads? After following Anansi's journey from Africa to the New World, today's bonus episode sees Charles and Crofty investigate two other trickster figures who were brought from Africa to the Americas, the gods Eshu and Legba. https://www.patreon.com/theHistocrat https://www.twitter.com/The_Histocrat Mythillogical logo by Ettore Mazza. You can find more of Ettore's excellent artwork below: https://www.instagram.com/ettore.mazza/ https://ettoremazza.tumblr.com/ Suonatore di Liuto by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4440-suonatore-di-liuto License: https://filmmusic.io/standard-licensehttp://incompetech.com/

Hermes, Anansi, Eshu, Loki. What do these figures have in common? Tricksters play an important role in mythology, they appear in almost every pantheon. So join us as we tell you about a few tricksters in African Mythology! You may have heard of a few and some may be new to you, either way…enjoy! Hosted on Acast. See acast.com/privacy for more information.

Hermes, Anansi, Eshu, Loki. What do these figures have in common? Tricksters play an important role in mythology, they appear in almost every pantheon. So join us as we tell you about a few tricksters in African Mythology! You may have heard of a few and some may be new to you, either way…enjoy! Hosted on Acast. See acast.com/privacy for more information.

Comedian, actor and rapper Hannibal Buress stopped by the Vocalo studios just hours before his release party for new single “Knee Brace,” which he released under the name Eshu Tune. Hannibal sat down with Bekoe and Nudia during Mornings With Bekoe on Friday, Nov. 11 to break down the single, making music, fatherhood, choosing an artist name and so much more. This interview was produced and edited by Bekoe. It aired live on 91.1 during Mornings With Bekoe on Friday, Nov. 11. Keep up with Hannibal and Eshu Tune on Instagram @hannibalburess and @eshutune.

***  IAYAALIS & Zaahruq share insight regarding The Trickster  ***Have any of y'all ever sought endlessly to find the answer to something very important that for whatever reason just seemed forever out of reach?

Trickster gods are often depicted as malevolent, or as plucky antihero sidekicks (looking at you, Loki). Some are more benevolent, seeking to teach through the medium of struggle. Tricksters can lead even the pious off their course, sometimes to test their wills, or to teach them a better way to live. Join us as we explore the great tricksters of the old traditions. Lewis Hyde calls them "Boundary-Crossers," and for good reason; these guys won't be controlled, if they have their way. These characters aren't quite the chaos monsters of the last episode, but chaos serves their ends well--or at least, the appearance of chaos.... We examine Momus, Loki, Kokopelli, Gwydion, Lugh, Sun Wukong the Money King, Eshu, and Anansi; and we tell a couple spider stories along the way. Patreon: https://www.patreon.com/holywatermelon Store: https://holy-watermelon-podcast.myspreadshop.ca/ Discord: https://discord.gg/NurpUjS7cc Web: https://holywatermelonpod.wixsite.com/homepage

HELLO CHURCH! We've made it to the end of our very first season of the Smokin at church podcast. and we have an amazing packed episode for you. this service we touch on the little mermaid, department stores and credit cards, the water crisis, nadia ask why guys are weird wit there socks and rules when smoking with the pastor. with life performances by Hannibal Buress as eshu tune, K. Roosevelt and Fat Ron. thank you to everyone who has supported Smokin at church so far. the future has a lot in store so stay tunes. special thanks to Hightide DTLA, ALL THINGS COMEDY, and our film and audio crews. season two coming soon.

Hannibal Buress has carved a name for himself in comedy over the past two decades. But now he's foregoing that part of his career for a fresh identity — Eshu Tune, his rap alter-ego. The name pays homage to a “trickster god” in Nigerian mythology.A rap career has been in the back of Hannibal's mind but the career pivot wasn't seriously put into motion until 2020. Earlier that year, he put out a comedy special, “Miami Nights.” While promoting it at home during lockdowns, Hannibal felt a spark missing. That, plus the added alone time from not performing at comedy clubs, finally pushed Hannibal into the studio. Since then, Hannibal has largely dedicated himself to rap and rap only. His eight-track, self-titled EP dropped earlier this year. Live rap show performances followed that. An agency deal was inked with UTA this summer. And soon, Hannibal will hit the studio to prepare for his debut album, which he plans to drop on his 40th birthday next April.Hannibal took me through his comedy-to-rap journey over the past two years on the show. Here's what we covered in our interview:[2:54] Introducing Eshu Tune the rapper[4:17] What led Hannibal to the career pivot[6:53] Goals of debut EP [10:11] Benefits of being independent artist[14:34] Following Too $hort at a Bay Area show[19:52] Getting a performing residency in LA[21:29] Challenging himself with music[26:52] Difference between Hannibal's comedy and rap fanbase[29:08] Will Hannibal still do comedy?[31:36] Has the changing climate of comedy impacted Hannibal?[34:01] Previous comedians that went into music[37:50] Response from rap community to Hannibal's career pivot[38:52] Eshu Tune's next album dropListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Hannibal Buress, @hannibalburess  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Hannibal Buress: I got some stuff, I got 'em locked and loaded, just, you know, got to go get 'em out. That's one thing too, is since I am independent, I don't feel, I just kind of do it when it feels right, when it genuinely feels right to do. It's no pressure. It's just like, okay, do I truly want to do this? Ain't no exec, hey, you got to do, there's nobody doing that, so I have to make that decision, which is a gift. I wouldn't say it's a curse, but it forces that accountability.[00:00:35] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:] Dan Runcie: Today's guest is Hannibal Buress. You likely know his name from his comedy and his acting, but this episode is all about his music. Hannibal Buress has released an eight-track EP under the name Eshu Tune, and that is his artist that is creating hip-hop music. And we talked all about why he chose to start this new chapter in his career, why music was important to him, and how he sees things moving forward. Hannibal had had a career of dabbling in music every now and then. He actually had beaten Open Mike Eagle in a rap battle a couple of years back. And it's something that he had tapped into, but it really wasn't until the pandemic, and a lot of us had the time to really think and tap into what was most important to us. And he was able to take this on not only as a new challenge for his career, but as a new opportunity to do something that he always wanted to do, but knowing that he could both continue to leverage the platform that he has as a comedian and as an actor, both from a financial perspective, but also from an exposure perspective. We also talked about his upcoming residency, how he's been positioning himself to get booked on shows and other things, and how important this is for him right now. So it was great to tap in. This was also the first episode recorded in Trapital's new home. I have a new office and studio here, and it's been great to get everything set up, and it's been great to record these in person, too, because, listen, it's great to do things remotely. A lot of them have been that way, but it's just a different chemistry that you get when you can do them in person. So it was great that Hannibal and I could connect while he was in town. Here's our conversation. Hope you enjoy it. All right. Today we got the one and only Hannibal Buress.[00:02:41] Hannibal Buress: What's up, man? [00:02:41] Dan Runcie: Mr. Eshu Tune now, though. [00:02:43] Hannibal Buress: Eshu Tune, yeah, yeah. [00:02:44] Dan Runcie: Last we talked, it was all about comedy. We're getting ready for a special that you had Miami Nights, but now we're about to talk about your music career, man. [00:02:52] Hannibal Buress: Yeah, for sure, man. [00:02:53] Dan Runcie: So who is Eshu Tune? [00:02:54] Hannibal Buress: Eshu Tune is my musical alter ego. Eshu is from Yoruban mythology, Nigerian mythology, the trickster God. I was looking for a stage name there, so I just looked up African mythology and I just connected with that description. It kind of felt like me and some of the things I've done and, yeah, it just felt right. It really was a big help to kind of separate the worlds a little bit just 'cause now I look at, you know, Eshu as, okay, we can build them together 'cause now, I can if I want to do a little bit of comedy on this shows, it's like, Hey, yeah, they'll both be there.[00:03:34] Dan Runcie: Right, right, right. [00:03:35] Hannibal Buress: I changed shirts. You know, I can think of you like, you know, Hannibal's t-shirts. Eshu's in a red shirt or something, you know? So it's been fun. And so I'm excited for the growth, and performing has been really exciting, and a lot of dope stuff coming up.[00:03:53] Dan Runcie: So talk to me through the journey a bit because I know this is something that you spent a lot of time on in the pandemic. And last time we talked about it, you were getting ready to release Miami Nights, and this was around the same time that you had started working on music. So what was your mindset at that time? You got this big comedy special coming out, but you also are thinking about this new career opportunity.[00:04:17] Hannibal Buress: My mindset? 2020, putting out the special during that time was hella weird just because it wasn't the usual motions and movements that you have with putting out a special, doing events, doing press in person. You know, I did The Daily Show, but it was on Skype. And it just felt weird doing television from my place 'cause you still get wired kind of, but then you're just wired at the crib. It's like, man, oh, I'm not getting in the car to go somewhere else, you just there like, oh.[00:04:54] Dan Runcie: Right, right. [00:04:55] Hannibal Buress: I remember doing, I did First Take with Stephen A. Smith. Something for Last Dance, just talking about Last Dance. And I remember just, I kept messing with them changing jackets. [00:05:08] Dan Runcie: Oh, I remember that.[00:05:13] Hannibal Buress: Molly was giving me sass. Oh, thanks for being so professional. I'm trying to, like, you want me to make a great statement about Last Dance? Look, oh, yeah, Last Dance. What's up with that? I'm trying to have some fun, make some real memories here. Nobody will care about my take on... [00:05:30] Dan Runcie: It's a documentary, right? It's not like it's an event that happened last night. [00:05:35] Hannibal Buress: Yeah. If I make a great point about the '96 Bulls, '98 Bulls in 10 years, but people don't care if I'm was chaotic as hell. I need to put that clip back up actually. That was really fun. I was sweating and shit. Yeah, it was a good time. But, yeah, putting out the special then, it was weird, man. And I wanted the music, I started really diving in in November of '20 when I was out in Hawaii. I kind of, it was nice to be able to lock in, focus. I've always wanted to do it and would finally find the time. And the time was always there, honestly, but I wasn't as good as maneuvering time as I am now. 'Cause looking back, I could have been on the road after gigs, instead of going to the club, could have been booking studio time, that type of thing, or, you know, I'm glad it happened when it happened. [00:06:31] Dan Runcie: Yeah, that makes sense. I think, too, I've looked a lot about how you chose to roll this out, right? It's not like you just did one single, let me drop in and see what happens. You had an eight-track LP, oh, EP that you put out specifically for it. What was your goal in terms of the release? Was there a certain response that you wanted to have or a certain emphasis you wanted to have with how you chose to put it out as an EP?[00:06:53] Hannibal Buress: Yeah. And initially, I was going to do singles, the single strategy, but then I had a bunch of songs and I said, let me just get these out and see how I want to do it. Like, if I want to do videos for stuff, which I am still going to do the visuals on things and get 'em out. But it was just after a while. It was just, let me just do it. And I didn't follow the proper practices of, you know, get it to the DSPs with this much time, to the best time, like, all the stuff that I know you're supposed to do to give your release the best chance. But I just feel like it'll get its due when it's due, you know what I mean, whether it is when I put out videos later this month or next month or down the line. It's my first project. So whether it's crazy now or crazy in five years, it's always my first project. So it'll be there and it just felt good to get it out and have it out ' cause then the music got better afterwards, the stuff I started recording. And I still like the song, like 1-3 Pocket. I like 1-3 Pocket. And that was 1-3 Pocket, that's the motherfucker hit. Like when we made it, yeah, this bowling song's going to go crazy. Hell yeah, we made a bowling banger, but now I got other songs. I'm like, okay, I was wrong. Well, maybe I wasn't wrong, but it's just, the music is getting better. And so it's nice to feel that and feel that improvement and the progression. And so that'll keep on happening indefinitely. You know, if you keep on working on it, keep on releasing, keep performing, it's going to get better. So it's nice to have that feeling and, and hear that in the music and like even hearing how the music sounds. If I record the day after a show, that music sounds good 'cause you can kind of hear the clarity, you know, you already got the energy. So it's been exciting, man.[00:08:50] Dan Runcie: Yeah. I get the feeling that 1-3 Pocket was a song you thought was going to be the one and that's a one, but I feel like Veneers is the one that I feel is your anthem. [00:08:57] Hannibal Buress: Veneers worked before I even put it out, and I performed it 'cause the hook is slower and the beat is chill. It feels, yeah, Veneers is the one I think people like more than the song that has really inside bowling terminology in it. Surprise the song about teeth is more accessible than the song about the bowling pins. Like, even people that love bowling have said to me, what is the 1-3 Pocket? [00:09:33] Dan Runcie: 'Cause some people would think you're talking about like billiards or like, you know, like shooting pool or something like that.[00:09:37] Hannibal Buress: Nah, it's just a, yeah, it's the headpin and the pin to the right. I got to put out a video for 1-3 Pocket. I got the lyric video out. I got to get the official video out, a couple of them. I might, you know, we'll see if I get on stubborn mode and start putting out three, four videos for a song. That's when I really, I'll start really lighting up, just going crazy with the visuals. Yeah. I was waiting to see the music videos. I'm glad you mentioned that you got the lyric video up. [00:10:02] Dan Runcie: Yeah. And of course, you know, like that's a great way to get the views and engagement up, but yeah, seeing the Eshu Tune visual character, I feel like that is, you know, the next piece of this.[00:10:11] Hannibal Buress: Yeah, I've been holding off a bit on the music videos 'cause I know when I got to know, when I do officials, that's when things are really shifting in a way. And so I don't want to rush it, but, you know, they come in over the next month or so, is when the visuals start. I got some recorded already. I got some for Back In The City. I recorded in Thailand actually. When I was in Thailand and I looked on Eventbrite and it was a restaurant packaging conference at the convention center. I was like, let's just go here. And I went and it was all this interesting, just different machinery and robotics. Me and my lady just walked through, something just to, you know, just a different environment. I said, man, well, I'm over here. What else am I going to do in Thailand and it's a convention? I have to shoot a music video. So I came back two days later, shot the video there. And so I got that. We got one for Closed Mouths. We got a Pocket video, got a version of the Veneers video, but I want to do a story version. So, yeah, I got some stuff, I got 'em locked and loaded, just, you know, got to go get 'em out. That's one thing too, is since I am independent, I don't feel, I just kind of do it when it feels right, when it genuinely feels right to do. It's no pressure. It's just like, okay, do I truly want to do this? Ain't no exec, hey, you got to do, there's nobody doing that, so I have to make that decision, which is a gift. I wouldn't say it's a curse, but it forces that accountability.[00:11:44] Dan Runcie: Yeah, with that, too, I feel like, with you, you're an independent artist who also has the luxury of this platform of your comedy that has given you not just the resources, but the platform to be able to get booked on shows or to be able to get at festivals or other things like that. How do you look overall in terms of how you view your career as an independent artist and wanting to see that through? Do you see a major label in the future? Do you see building what you have clearly with the resources that you have from your comedy and acting to be able to push off for that? [00:12:19] Hannibal Buress: I think the major label thing isn't something I'm chasing. I would hear them out, you know what I mean? I would take a meeting or a call just to hear the right pitch and see. But before I even would do that, I would have to give myself at least a year or so of operating full speed. [00:12:42] Dan Runcie: Right.[00:12:42] Hannibal Buress: 'Cause now I'm in the coast, I'm doing a good amount of shows and having fun, done a couple of festivals this year with, you know, no visuals out. So I would have to give myself all of 23 of like going, you know, with a full staff, you know what I mean? My whole infrastructure, putting out everything, like really, really going crazy merch, all the whole thing, and then see how I like that. And then see what we could do from there. But for now I kind of got an idea of how I want to do it. And a lot of the things that a label can provide, I've been to some of these spots before while I promoting standup or touring or different things, I've been around. I'm sure there's other things or different cracks and crevices they can operate in, but there's a lot of things that, you know, I'm able to pull off 'cause I'm independent, but it's not a true, like in the same kind of thing. 'cause I've got the visibility. So it's a good help. The music still has to be good, too, and I'm cognizant of that, where I want to be, you know, I don't want to just be in the spots to be in them. [00:13:52] Dan Runcie: Right. [00:13:52] Hannibal Buress: I want to be in the spots and really doing my thing and having a dope show and, you know, justifying the spot.[00:13:59] Dan Runcie: Yeah. [00:14:00] Hannibal Buress: Yeah. [00:14:00] Dan Runcie: Because I think the thing that works out for you with it well is so many folks signed with the record label because they want to be able to get the distribution that can at least get them some global recognition in reach. But then that also gives them to being able to do shows, right? And you are able to get a lot of these shows on your own, just given the connections and the influence that you have. What has that process been like specifically with you getting out? 'Cause I know that you were up in San Francisco a couple of months ago. You did, you know, we had the 420 thing up here. What has that process been? [00:14:34] Hannibal Buress: That's through friends, you know, old friends that I've worked with before or talk with and people that, yeah, my homie Normani helped put that together, the 420. So it's just people that believe in what I'm doing, that I have a history with, that, you know, see some opportunities. So Too $hort went on, I forget who the DJ from the Bay was, but Too $hort went on and I was like, oh man, I'm going on after Too $hort in the Bay? With friends? [00:15:07] Dan Runcie: Blow the whistle finishes and now... [00:15:10] Hannibal Buress: It was crazy and I got brand new music. Brand new. That was two days after the project dropped. But it was a fun time. I enjoy it so much, man. Even that show didn't go how I thought it was going to go, but it still was fun, you know? [00:15:34] Dan Runcie: Wait, how did you think that show was going to go?[00:15:36] Hannibal Buress: How did I think it was? I thought it was going to, in my mind, and it's the blessing of being mostly optimistic on the performance side might just drop the project, it's circulated, two days after, it's the Bay. I'm going to hit the stage going Veneers. Yeah, get out there, and then, you know, they didn't, they was listening, but it just wasn't, you know, it's just new rap sometimes it's tough. And so also then I still, my music performance chops are a bit more developed now, too. It's been some time, so I'm better at engaging the crowd, even if they don't know the music 'cause I think, at first, bringing a lot of standup energy into it, meaning, you know, you get the, Hey, yeah, say, yeah, but, you know, you got to, and so getting used to just monologue and even just the body language, too, microphone holding, body language, like, you know, that whole thing. Still a bit rusty now. And there's a lot of room to grow. I like coming back to spots, too, after you did, so it will be some folks, they had a good time there, too. It was dope. Had another show that night too. I did LA later that night with the full band. So it was just a dope experience to have two shows in the Bay, LA, same night, 420. I'll never forget that at all. [00:17:04] Dan Runcie: Yeah. It's an interesting crowd too, because their crowd is high as hell, and it is a midweek thing, too. So it's not the same way of, let's say a music festival where it's like, oh, three o'clock at the East stage, Eshu Tune is going to be there, right, so that's definitely a little bit of a different vibe than I feel like what that event is. [00:17:21] Hannibal Buress: Yeah, it was. But the one good thing, another good thing about is that I rehearsed right before. Like I landed, went to a rehearsal space, and then I ran through it. So when I got on stage, I felt good 'cause I was freshly rehearsed. So even though I wasn't rocking out, I kind of was in the zone, in a good space. But when I had a show in Philly for Adult Swim Fest, that one we were tapped in, had the band. I love having the band up there just because I feel like, you know, when you got the band, that's just a lot of energy on stage and you got to, I feel like, giving them a reason to be like, okay, why are we playing for this motherfucker? So then you got to bring the energy up even more to justify the band, you know, so that's always fun.[00:18:13] Dan Runcie: Yeah. So how often are you doing shows right now? [00:18:15] Hannibal Buress: My last show was I popped out at this open mic in LA a couple of days ago, then before that was, what? [00:18:24] Dan Runcie: An open mic for music, to clarify.[00:18:26] Hannibal Buress: Open mic for music. Yeah, open mic for music, did a few songs. And doing Wild 'N Out next week in Atlanta and probably do a popup or something in Atlanta, maybe. And then I'm starting up a residency in LA, six weeks at Grand Star Jazz Bar. That's going to start on September 26th, every Monday until October 31st 'cause I wanted to get that structure in. And then, you know, I used to host at Knitting Factory in Brooklyn and that kind of, like, having that consistency of doing a regular spot. I hadn't done that in a minute. And so when I did the last show at Knitting Factory, that location closed down, I did and so it reminded me of that energy and just of that, you know, having that regular spot where people know they can see me 'cause you can't always link up with friends or grab lunch and all of that. So you can kinda have the residency, people know where to find you. So I want to do that. I'm excited about doing that 'cause I think that'll help the writing 'cause it'll be like, okay, I got this show. I definitely have this show on Monday. Maybe I'll try this new song there. And then the rest of the week can kind of flow off of that. So I'm super excited about these six shows. I put 'em all on sale at once and it's nice to see they're flowing, you know? And so it is going to be, it's going to be a good time and then we'll see how we want to operate from there. But definitely doing those six in a row, man. [00:19:47] Dan Runcie: What was it like to get that process going for the residency specifically?[00:19:52] Hannibal Buress: It was, you know, I went to the spot at Grand Star. I saw something there I've been there twice. It is really close to my spot. And then I just reached out to the owner online, walked over there, talked to him, told him what I was trying to do, told him I wanted Mondays. He was like, all right, you take the door, I'll take the bar. I ain't dealing with your ticketing, like this it. And then I was like, all right, let's get it. It was pretty straightforward and simple, you know. ' Cause I realized I wasn't, something about LA, it was making me stagnant on a live performance side and I was doing more gigs out of town. And I've done some stuff, but I wasn't really consistent locally. And so I just realized I had to create that. I couldn't be, you know, annoyed with the nightlife or performing if I wasn't really trying to do something about it. [00:20:45] Dan Runcie: Right, right. [00:20:46] Hannibal Buress: When I have that ability, it's not that tough to like, Hey, this is the place I do a show, you know? So I'm really hyped 'cause they'll be, you know, have a comedian or two and two or three music acts and get the book stuff that I'm a fan of and tape 'em. And the excitement of doing a show, like putting on a regular show after doing it for a while and doing it now with knowledge and knowing how to build the vibe and promote and all those things. It's going to be a blast. [00:21:14] Dan Runcie: Yeah. With that type of show specifically, you are also staying in the same spot. And I know that probably helps from a lifestyle perspective too. You have a young daughter, you know, you're not trying to, you know, be on the road, maybe, to the same extent.[00:21:29] Hannibal Buress: Yeah, just the consistency of this is what, you know, for everybody, for the team, for the camera people, by the third show's, like, okay, this is my spots right here. Everybody being, you know, the timing of it, and it's just, I got to create that consistency for myself and that external pressure to do 'cause they're not all like everything else. 'Cause then once like, okay, Monday, this is what Mondays are no matter what. So then it's like, okay, well, it's Tuesday now since we only got six others. So like, okay, one of those has to be a studio day or this type of day or that. Or, you know, it forces the structure for the rest of it. So it's something I haven't had in a while like that consistency. So, you know, when I did have it in New York, it kind of led to the most productive times in my career and, yeah, the most profitable. [00:22:24] Dan Runcie: Yeah. That makes sense. Yeah, I feel like I'm seeing, hearing more artists talk about that, especially, we're seeing what's happening in Vegas. So many more artists, especially while they're still in their prime, taking the residencies there, too. And you're starting to see them more in different cities. And I like how you did where you're like, yeah, you essentially created your own opportunity where you're at. So and I feel like we're going to start to see more of that as I'm just seeing trends of how artists are thinking about doing things and where it makes sense to monetize in and where it doesn't.[00:22:50] Hannibal Buress: Yeah. Just, you know, it's like, Hey, I booked myself for six, you know, I'm here. But even, you know, with that, it's a bunch of different things. And look, you could change up the core each week, you know what I mean? Change up the merch or change up the drinks or change, you know, all these different elements to keep it fresh since you learn in the space and learning the crowd. And you get to know the fans 'cause I'm sure, you know, folks go return, you know? So and having that data, too, of seeing that, you know, yeah, who you see exactly who I'm seeing, who's buying the tickets and blah, blah, blah, and so can reach out direct. Thank you for your time, who are you listening to, you know? now it's like a kind of, It's going to be a new phase, man. And that's one thing, too, with the music is that younger hunger, 'cause it's a newer thing. It still has that feeling of I don't know what's going to happen. Right. You know, I could try to make things or put things, but the other parts of it, when you do that, make other things happen when you just, you know, action cause reaction. Even going to that open mic that I did the other night and ask this other person, Hey, come to this show, you know, shows beget shows. And so it's nice to have that momentum and that feel because the comedy side, I don't want to say it's predictable, but the goals kind of are, you could change up your special and, and different things, but the goals like, oh, blah, blah, blah, special, blah, blah, blah, move and you do this, too, but it feels super blank canvas a little bit.[00:24:24] Dan Runcie: Yeah. And I get the impression from you that there's part of that that is enjoyable. It's that challenge. It's like what keeps it fresh in a way, because, at least for comedy, you mentioned the predictability of it. Like, you knew what would work, you're getting the calls. Like, you know, you're still getting them up to this point. So this is an opportunity to be like, no, this is something I've always wanted to do. Let me tap in here and explore the unknown because, at least from the comedy side, even though that could be unknown to someone else, but you've been in this for decades now, you know? [00:24:50] Hannibal Buress: Yeah. At the open mic, it was a bunch of other artists, that was having the same conversations. Like, I didn't know you rapped, I didn't know you rapped, I didn't know you rapped. Like, yeah, I guess that's why I'm here. So now you know I rapped. And so to have, you know, it's still building that, you know, through word of mouth, through performing and, you know, a solid amount of time, but it's happening piece by piece where I'm, you know, seeing folks in public. Oh, I see you doing the music, yeah, keep doing, you know. Yeah, it feels good, man. It feels exciting. And it is just going to get better and keep learning and, you know, I got my drum set, you know, practice more, got keys, got to, you know, I want to in five years be full on musician be able to move around the whole kit, the whole, you know, all the instruments and, and really do a show show, you know?[00:25:44] Dan Runcie: Yeah. By show show. What do you mean? [00:25:47] Hannibal Buress: Like, being able to, you know, like even have a band, like this one, I'm on keys, for this one...[00:25:52] Dan Runcie: Yeah, yeah. [00:25:52] Hannibal Buress: But not fucking around on keys. Like, actually killing that shit. This one I'm hopping on the kit and like, not bullshit. I don't want to, you know, half-ass it like, oh yeah, he's up there. He's having fun. Then get the picture. No, I wanted to, you know, actually, be technically proficient at it. And I'm willing to work to get to that spot too. You know, but you got to lock in for that. So that's the real, real goal is to be able to even, in seven years, pop in on somebody's set only for drums and, like, nail it, you know what I mean? Like, okay, like he playing on somebody else's music, you know, and it like, yeah, that's the goal. Even if I'm 47, 50 when I'm able to do it, that's what I want to do. [00:26:37] Dan Runcie: Yeah. And I feel like with you, too, you talked a little bit about the fan base piece of it, and you be able to see who's coming to the shows and seeing who the fans are. Do you feel like the fan base is slightly different in any way from your comedy fan base? [00:26:52] Hannibal Buress: It will be. It will be. Right now, there's a lot of overlap 'cause people that might be thinking, they're getting the comedy show and show up for the music and then they like, oh, okay, that was better than that. I didn't know that was happening. But there'll be some folks that weren't into my comedy at all that was like, okay, I like this I'm seeing some folks, I did Sway In The Morning, the freestyle, some people are like, I like this better than his comedy. And now I'm thinking me too. I do too, yeah. And then there'll be people that never knew I did comedy once, then when the music is discovered, if they find it through the algorithm or something, they'll be some folks like, what? This guy got four comedy specials, you know, especially when things start tapping on an international scale. If When I started touring in Asia, going over, you know, folks that they just find the music through the promoter or whoever, and then they like, what? You do music? So I'm excited for that part of it too, man. It's nice to, you know, and then I might rerelease Miami Nights, but just put music videos in between that shit.[00:28:05] Dan Runcie: Yeah. [00:28:05] Hannibal Buress: Like, oh, y'all want Miami Nights? Well, here. And it'll be like, and so, and then I said 2Chainz and like Veneers, Veeners, 1-3 Pocket, you know. There's a lot of moves to, you know, that just because I have that this older stuff and this older material to be able to maneuver and, you know, run ads against and all these different things, man. So it's just a lot of possibilities and ideas. It is fun, it's a fun time. Every day, I'm lit up, like excited, just because, you know, there's so much to do and so many different ideas. I'm and so it's just, I'm fully locked in, yeah. [00:28:45] Dan Runcie: Yeah. Where do you feel like your comedy itself fits within your career? 'Cause I know I've listened to past interviews you've done and you've said that, nope, I'm locked in on music right now. But I also know that you had said in other interviews that okay, maybe in three years, if I do another comedy special or make it all even stronger. So where does your comedy fit in for you right now? [00:29:08] Hannibal Buress: I could still do it. Because I did it last night at this private gig. And I did it when we did the last night at Knitting Factory, I planned on doing 10 minutes and I ended up going on a couple of tangents, did it in 20, 30. That was partially 'cause of the history of the room and that energy there and that's where I built that soul. And I still can write, you know, I do banter in between. I just don't think I foresee just me kind of grinding out in the clubs or, you know, trying to do for weekends for a while, unless it's just purely to pay for some last-minute music expense. It would be just purely that, if I'm at an improv or doing it if I'm billed as a standup publicly, that's where it's at right now. Even I did for the gig last night, I brought a keys player, Preach Balfour, he plays for my show sometimes, but it was just, I didn't feel like having the emptiness of just pure waiting for laughs. It's not going to be with a keys players the whole time and I'm telling these stories, these jokes, but it's not going to be dead in the room just because. It's like, I'm not giving y'all that as an audience. I'm not giving you the ability to have this shit be silent at the very least after I say something, it's going to be beautiful keys planted as motherfucker. So it's just that exercise of just the grind of what it takes to stay sharp as a standup, I don't feel like doing that anymore. I just find the music to be more enjoyable. And just, it has more, yeah, you just can go into a different direction, like everything don't have to be funny or everything don't have to be one level, you know what I mean? And so maybe down the line now, another one or, but as far as like working, working, I don't see it happening, yeah. [00:31:15] Dan Runcie: Has any of the reaction to how comedians have either been perceived or how they're being called upon to respond to particular things, especially in the past few years with how things happening on Twitter, has any of that impacted how you feel are your relationship to comedy or making it at all?[00:31:36] Hannibal Buress: No, man. 'cause you just have to, you don't have to do anything out here unless you're on a show where you do that and you're contractually obligated. But even that is still a choice, you know what I'm saying? Everything is a choice. We could live in the woods, man, with no electricity if we choose to. We choose to be out here and perform, play video games, move about, you know, born into this, but you don't have to do none of the shit, all of it, all of it's made up. [00:32:11] Dan Runcie: Right. [00:32:12] Hannibal Buress: Yeah. [00:32:13] Dan Runcie: Yeah, because I feel like as you mentioned, yeah, a lot of it being made up probably makes people almost forget that they do have a choice in a lot of this because I feel like what I've seen or what I've heard from other comics sometimes is that just because of how things are with the climate or how people feel like they need to respond to particular things that there are comics that feel different, especially how things have happened, post-pandemic. But I feel like your mentality is a bit more like, Hey, we really don't have to like, just like whether it's people being canceled or people having backlash for things they say like, comics don't need to fit into fall into that.[00:32:51] Hannibal Buress: You can just do what you want, you know? And that's one thing. And it's not to judge or say, oh, it's wrong. I see why people would feel pressure. And I get that, too, but it's, after a while you just really like, oh, it's now that I know exactly what I enjoy, and I know the spots where I am truly having fun and losing track of time and enjoying life. And so I just try to spend as much time in those spots and spaces as I can and leave the other shit alone. It takes practice. It's a great theory. It ain't fully perfect, but it's a solid system for me. [00:33:37] Dan Runcie: Yeah, yeah. Has there been a bit of a connection to other comedians that have went into music? Thinking about something like a Jamie Foxx or someone like that, that, you know, someone else like yourself, multi-talented and has, you know, had success in both areas. Is there kind of like a, okay, you know, you see that others have done this, or do you really feel like, no, this is even more unique thing? [00:34:01] Hannibal Buress: I respect, definitely respect what they've done. The timing is different for how I'm doing it. So that's why it's kind of, it's tough to compare a little bit the approach because it is been a minute. But it makes it interesting for me just from having stuff to talk about, too, for doing it so long 'cause sometimes I'm like, maybe I should have started when I was 23, but I think it happened when it was supposed to happen, and it happened when I was ready for it to really happen. But yeah, I watched, you know, like Jamie is amazing, you know? What Gambino's done, it's really dope. I saw Lil Duval write his Living My Best Life, was popping. I saw him. [00:34:42] Dan Runcie: That was a good song. [00:34:43] Hannibal Buress: He did good with that one. He was at the Stress Factory in Jersey as the song was peaking, and he was definitely too big for that room, but it made the energy...[00:34:54] Dan Runcie: Yeah.[00:34:55] Hannibal Buress: He was, like, crazy. He hit the stage to it. Like it was dope to see, man, like I was genuinely excited, and you could feel that he was hyped about it too, man. So it is dope to see when people just go for it in that way, and then we just making this shit, you can really do anything. I have to remind myself of that, too. Just really do anything, man. Just, you know, just go for this shit. I got this song, No Whip. It is a freestyle. It's a 7-minute freestyle about how I was living in Hawaii last year. I bought a car there,, and then I took a trip and then we ended up moving, but I didn't go back to like send the car and I've been planning to, but it's just kind of one of them things where I just, out of sight out of mind. And it ain't really, you know, causing a strain on my life, right? But it is, it's kind of, I bought this whip left in Hawaii, blah blah. And it's like, it's a loose freestyle. And I'm like, you know what, man, I'm going to shoot this part here, part in Hawaii, and just keep it at seven minutes 'cause you can just do that. The instinct is like, oh no, maybe I need to, I'm being repetitive, so maybe I should cut. I'm like, no, shoot that shit rough. Like, make it look as dope as possible. Like, shoot it rough freestyle dope and have fun and then just let it fly and just don't put the constraints on yourself unnecessarily. It's easy to try to overedit sometimes or get it. And so it's just, getting better at trusting myself, which was the initial hurdle It was just, okay, let me do this. There was nobody like, you can't make music, man. What are you, like? It was kind of me battling initially. And then once I dropped it and then, you know, now, okay. And then just rewiring my brain to, okay, I am doing this and keep doing it. It's like, okay, well, we are doing this for real, you know, no matter, no matter what. That's why I find it, like, absurd when people reach out and like, stop. That's weird. Like, you realize I'm a very, I'm a very stubborn person. Like, I'm not doing it to show you up. Like, this is like, I'm already way more locked in than you could ever imagine. So, you know, why you would ever tell me to stop. It's weird. But then I know that that person's not locked in on whatever they want to do if the time to tell me to stop. Yeah, but it's that I don't even get mad is just more like what, what? That's a weird thing to like, why stop? You realize even if my music was completely trash, I would still be able to figure it out from a marketer standpoint. I'd still be able to work some angle in this shit. But it's, you know, it's exciting, man. [00:37:44] Dan Runcie: Yeah. It's an exciting time, man. What has the response been like from the hip-hop community?[00:37:50] Hannibal Buress: It's been dope, man. Went on Sway In The Morning, did my written freestyle. I bothered Questlove when The Roots were performing at Pitchfork. They let me rock up there. So I got to rap with Black Thought, you know. It's been good, man. The Sway, the Sway interview helped, you know, I got a bunch of friends that I've worked with that I send stuff to sometimes. So the people that really know me, like know me know me, know that I've been working on things for a while and been building. So they've been super supportive and especially the ones that know what the grind has been and know how I've been working. So it is been dope, man. I'm just, I'm excited to just keep pushing, putting together shows and it's a fun time with just lots of possibilities and shit. [00:38:40] Dan Runcie: Exciting time, man. Exciting stuff. So before we close things out, what should the audience stay in tune for? What does the next year look like for Eshu Tune and what should they keep locked in for?[00:38:52] Hannibal Buress: The plan is to drop the full album on my 40th birthday, February 4th, '23. So I got a couple of songs done for it, going to start the sessions for it next month in November and December, hopefully, shoot videos, December. January, drop a single on New Year's Eve. And then 40th birthday album, I don't know what the title is going to be yet. 40-year-old freshman, 4 HB, 4 Eshu, 40, 244. I don't know, something like that, but I feel like 40th birthday is a good, drop date. Yeah, so that's the plan. And so I'll use the time leading up, you know, to start purging old stuff, you know what I mean? Use that to kind of, you know, drop loosies and different things and even drop some of the older comedy stuff I got, I've been hoarding. And so I want to also, in addition to having the Mondays residency, use the Mondays as a drop date, you know, for new content, old content to start just really, really getting stuff out and start just to free my brain up, 'cause there's a lot of, even though I'm making stuff and dropping stuff, there's a lot of other stuff that I think needs to just be let go, let the birds fly and then it'll help the creativity more.[00:40:12] Dan Runcie: I hear that. In terms of other stuff too. I think I remember seeing you, you had a song called Numbers. Is that a kid song? Is that one of those things you're going to be putting out there? [00:40:21] Hannibal Buress: I don't know if I'm going to lean too heavily into the kid songs yet, or maybe under an alias. I might start dropping, but yeah. I've been seeing some of, who's it, Gracie's? [00:40:29] Dan Runcie: Gracie's Corner? [00:40:30] Hannibal Buress: Gracie's Corner and then another one where they got the trap kind of kid stuff. Maybe Numbers was fun to do. I did that, yeah. Shout out to Shaliek on the beat for Numbers. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. One robot, two robots. The robots is an ongoing theme in my music also. [00:40:51] Dan Runcie: Hey, man, we're excited for all of it, man. [00:40:53] Hannibal Buress: Yeah. [00:40:54] Dan Runcie: Tons of respect for you, man. [00:40:55] Hannibal Buress: Hey, thank you, man. Thanks and good talking with you, Dan, for sure. [00:40:57] Dan Runcie: Always been. [00:40:58] Hannibal Buress: Yep.[00:41:00] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Knee Brace

Welcome to our latest episode, Spirit-U-Ality. This is the first of a mini-series, where we explore spirituality as a whole, in addition to pulling it apart and exploring its "genetic makeup". We will cover the origin, inter-workings, and challenges that accompany spirituality. In this episode, we give some insight to what spirituality is, how one may embark on their spiritual journey, challenges that could possibly arise, spiritual tools, and the responsibility of being spiritual. Join us for this mini-series as we drop some gems to help you evolve to a higher consciousness.   **We do not own the rights to this song**

Había una vez en lo que hoy conocemos como Nigeria  un mundo Yoruba en el que solo existía el cielo, un inmenso mar que cubría todo y en un gran pantano con algunos seres animales. El dios Obatala, viendo la desolación del mundo, pensó que seria bueno mejorar la tierra con otras formas de vida y con una superficie solida donde pudieran vivir los orichas que representan la diversidad de dioses de los Yoruba. Durante esos primeros tiempos solo la diosa Olokun vivía en la tierra gobernando el inmenso mar ya que los otros dioses vivían en el cielo acompañando a el dios máximo Olorum.  El dios obatala se acerco a Olorum y le pidió que le diera el poder para viajar a la tierra y crear tierra para vivir. El dios Olorum, acepto  y envió a obatalá donde el dios Orunmila El dios de la sabiduría y la adivinación  para que le diera las instrucciones de como crear la tierra firme y sus habitantes.  El dios Orunmila recibió a Obatala y le explico que para crear tierra firme en los dominios acuáticos de Olokun tendría que conseguir algunos elementos importantes. Para ello tendría que conseguir una cadena dorada que colgaría del cielo y asi descender sobre las aguas sin caer en ellas. Luego tomando una concha de caracol llena de arena que debería verterla sobre el mar lentamente hasta  que se formara un pequeño montículo de arena.  Luego debería poner una paloma y una gallina para que ellas, con sus patas escarbaran la arena y asi esparcieran hacia todas las direcciones la arena formando con esto valles y montañas.  Y asi lo hizo obatala, bajo por la cadena de oro con una concha llena de arena, una gallina y una paloma y cumpliendo las instrucciones vio como de las patas de la gallina y la paloma comenzaba a formarse extensiones de tierra sobre el mar.  Y luego obatala salto sobre las tierra formada y la llamo ife. El reino de la tierra seca. Para celebrar el nacimiento de la nueva tierra seca y para permitir que otros seres vivieran allí, Obatala, tomo una nuez de palmera y la planto. Y de allí surgio la primera palmera en la tierra y esta palmera dio frutos y sus frutos cayeron a la tierra fértil y otras palmeras crecieron formando un primer bosque de palmeras.  Olorum envió a su sirviente el chamaleon Agemo para que supervisara los avances de Obatala  cuando Agemo llego el dios  se quejo de que no había suficiente luz para que los bosques crecieran cubriendo toda la tierra seca. El camaleón llevo la queja a dios supremo Olorum y este viendo los progresos de Obatala, creo el sol para que con sus rayos y su calor le ayudaran a las plantas a crecer y multiplicarse.  Y el mundo Yoruma se creo, pero todavía faltaba algo. No había seres que recorrieran y vivieran en esas tierras. Asi que Obatala creo multiples figuras de hombres y mujeres  con un poco de arcilla y le pidió al dios supremo Olorum que les diera el aliento de vida. Este soplo sobre ellos y el mundo yoruma se lleno de hombres y mujeres. Obatala se sintió feliz con la creación final del hombre, pero Eshu el espíritu embaucador le ofrecio vino de palma para que celebrara y este gustoso lo tomo. Pero tomo tanto que se emborracho y comenzó a crear figuras con miembros retorcidos, espaldas jorobadas y otras muchas deformaciones.  Y cuando Olorum les dio vida, estos seres comenzaron a vagar por la tierra con sus deformación. Obatala al despertar de su borrachera vio estos seres y sintió pena por ellos y arrepentido decidió convertirse en el protector y defensor de aquellos hombres con discapacidades. Y cuentan los yorumas que hasta el día de hoy todo ser con alguna discapacidad es protegido por el dios obatala. Después de terminar su labor Obatala regreso a la cadena de oro que colgaba de el cielo y regreso a el para desde allí vigilar su creación.  Olokun la diosa del mar se

Eshu is a sly trickster who craves chaos. But when he finds himself without any gods to dupe, he convinces the Sun and Moon to switch houses — and reverse the order of the day. Unfortunately for Eshu, his move makes the Supreme God supremely unhappy. Learn more about your ad choices. Visit podcastchoices.com/adchoices

@rogergerressen was born in Arnhem (the Netherlands), raised on early 90's hiphop in Nijmegen. As a kid, always drawn to making mixtapes and fiddling around with the old records in the attic, but never realizing he'd be ending up creating music and playing records. His passion for movies and hiphop kept him occupied. It took a giant (first) rave on his 18th birthday to see the real potential of house music and his objective was clear. In the years following he got the chance to warm up crowds on a regular basis at the legendary Planet Rose clubnights, which made his hometown Nijmegen an excellent place to develop his skills as a warm up DJ and to obtain a broad taste in music. The dutch town always had a strong history in electronic music, but remained small enough not to be influenced by trends or hypes: a perfect spot to create your own sound and identity, playing alongside the greats. After his first solo releases on the local Wolfskuil Records he co-founded @eshu-records in 2011. Recognision came after a string of well received solo releases on @fear-of-flying-recordings (and sub-label SuddenDrop), his many collaborations with @ivanotetelepta and numerous other collabs (like @dilatedpupilsnl, ARC# and Novio Dub Tribe). A few years down the line it was time for a new direction which resulted in parting ways with ESHU to start his own label OGUN Records and a few monikers (like the recent Monoaware and less recently Gasometric Run) to provide him with the creative freedom he was looking for. Since he joined Paris based @yoyaku (label/store/distribution) he had the chance to release music on a few of the recordstore's in-house labels like Joule Imprint, Aku and Tartouffe and on the renowned label @sushitech. With their support, he set up two more labels to meet his output; Irenic Records and Autodidact Records. Stay Rave with #R13!

Ralph Waldo Emerson said that “language is fossil poetry.” If that's true, then Báyò Akómoláfé is one of the most remarkable archaeologists and excavators of language's hidden meanings and of our shared human past. What I love about Báyò is his capacity to reformulate, reimagine, reconfigure, and remember. He works with language in a way that deepens our understandings of what's true and real, and also what is untrue and unreal. He weaves those understandings together to help us move towards the boundaries of conventional life, where we might truly learn, grow, and discover.He's an author, a speaker, a teacher. He's also the executive director of The Emergence Network and the chief host of the wildly popular online/offline course and festival, we will dance with mountains. But another way we might talk about Báyò is that he's a self-styled trans-public intellectual, which is a concept imagined together with and inspired by a much more ancient idea of a shamanic priesthood of the Yoruba healer trickster Eshu, who we talk about in our conversation.It's possible that you'll hear some of Báyò's formulations and be struck with a sense of, "what does that mean?" In fact, I hope that's the case! And I invite you to deepen into that encounter. That when faced with the unknown, you're not immediately and unconsciously repulsed by it. Rather, you stop and ask, "What is the trick here? What is hiding inside these words? What is waiting to break open a belief or way of seeing that I need to let go of? That no longer serves me or the world?"Get Connected:The Wonder Dome Newsletter http://bit.ly/3dTfdPi​Follow Andy on Twitter http://twitter.com/cahillaguerillaFollow us on Instagram http://instagram.com/thewonderdomepod​Like us on Facebook http://facebook.com/mindfulcreative.coachConnect with Báyò:BayoAkomolafe.netfacebook.com/bayoakomolafeampersandlinkedin.com/in/bayoakomolafetwitter.com/bayoakomolafe

  In this episode we spoke to Kimbanda Priest and Candomble Babalorisha Diego de Oxossi of Sao Paulo Brazil. Diego educated us on the spirit cults and the deity cults of Brazil and described the differences between working with the Eshu and Orisha. We talked about the roots of Kimbanda as well as the philosophy and practice. This and much more ! Diego's website: https://www.diegodeoxossi.com.br/main   Diego on Instagram: https://www.instagram.com/diegodeoxossi/?hl=en  

Welcome back to Quirk of the Day, and episode twenty-nine, The Full Moon. Halloween and the Day of the Dead are almost here. Listen to my silly Mad Libs, and more about the African Orisha and or also known as a deity, Papa Legba. Some refer to him as Elegba, Elegua or Eshu. And certain movies that are Halloween-like and movies that clearly are not Halloween. Listen now and beyond...enjoy. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/autumn-simmons/message Support this podcast: https://anchor.fm/autumn-simmons/support

Unlimited Opinions is back! In Season 2, we're reading Myths & Legends, a compendium of world mythologies edited by Jake Jackson. In this episode we look at Sub-Saharan African myths of Creation, especially the Yoruba stories of Olorun, Olokun, Obatala, and how they created the world and humanity. We also look at various stories of Death, including the Krache story of the giant Owuo and his ever-blinking eye. We also discuss how darkness was unleashed according to the Kono, the Dahomean pantheon, and the Kakiru story of Wanjiru. Join us as we look at the modern-day relevance of ancient myths and what we can learn about them in the first episode of Season 2 of Unlimited Opinions!   Follow us on Twitter! @UlmtdOpinions

This ep is all about two well-known West-African trickster gods: Eshu and Anansi. We formalize ‘Vibe of the Week' (1:08) and talk about: How Anansi became the god of all knowledge of stories (4:21) Eshu's many roles, his dual nature and the English translation controversy (19:11) Anansi and the pot of wisdom (48:22) Listen to the end for the African Proverb of the Day (51:45), and (of course) our

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En este nuevo e interesante episodio continuamos hablando sobre la iniciación en nuestra religión, con especial énfasis en la deidad Eshu/Elegbá. Comenzamos también una nueva sesión para dar respuesta a las dudas más frecuentes de nuestra comunidad religiosa. Y en nuestra habitual sesión Conociendo más sobre Ifá, contamos una historia del sagrado Oddun de Ifá Oshé Omolú, que nos muestra la calma y sabiduría con la que Orúnmila actúa y que todos deberíamos tomar de ejemplo. --- Send in a voice message: https://podcasters.spotify.com/pod/show/herenciayoruba/message

In this Episode we take a look at our human history & the many possible cults embedded throughout time. The journey begins by diving deep into the cult like groups identified within most ancient cultures. We discuss more recent cases like the Adolfo Constanzo case and it's mysterious occult connection to a god recognized as Eshu. We cover the shocking Heavens Gate tragedy. As well as the recent nerve wracking Lori & Chad Vallow case. . All that & much more! Were the followers of these belief systems experiencing delusions? Or were they being tricked by Trickster Gods? Let us know down in the comment section!I |

Descubre, en este maravilloso episodio, la lógica del proceso de tu primera iniciación. ¿Quiénes son los guerreros? ¿Qué relación existe entre Eshu y Eleggua? ¿Acaso son la misma divinidad? Preguntas todas que te responderemos aquí. Estaremos hablando también del orígen de la creación, el momento en que Oloddumare colocó la luz de vida en medio de la absoluta oscuridad. Además en nuestra habitual sección Conociendo más sobre Ifá, te traemos una historia del sagrado Oddun de Ifá Ogunda Ojuani, donde la confianza y obediencia en Ifá salvaron a Orunmila. --- Send in a voice message: https://podcasters.spotify.com/pod/show/herenciayoruba/message

Escucha esta mística historia llena de enseñanzas del sagrado Oddun de Ifá Ogbe Di, narrada por nuestro querido podcaster Ricardo Ferro. Este episodio es una invitación a la reflexión que también te permitirá entender el estrecho vínculo que existe entre Eshu y Ọ̀rúnmìlà. Esperamos lo disfrutes. --- Send in a voice message: https://podcasters.spotify.com/pod/show/herenciayoruba/message

a continuation of gangs and santeria pt1, a deeper dive in the rabbit hole, ase yemaya and eleggua.

initiation system in ifa PT 1

It's been a crazy year, the kind where we look for any source of joy and laughter we can to be relieved of daily stresses. Often times, that joy and laughter is found in the fascinating people around us. If you've ever people-watched in a park, or in the waiting room at a doctor's office, or at any family reunion, you know that this world is full of quirky, beautiful people. Their actions, ideas, stories, and perspectives enrich life, and make the hard times light-hearted with their authenticity. Today's stories will move us all to smile at the quirky and fascinating characters of the world. We'll hear stories of rascals that steal from others' gardens, talented game players with beautiful Jewish traditions, and magical beings that spin feathers into fine cloth. Each story will make us a little happier with the sway of its song and the energy of its teller. On today's episode, enjoy the following:"Spin the Dreidel" by Mark Binder from A Chanukah Present (7:30)In our first story, storyteller and writer Mark Binder, who was recently nominated for an Audie Award, tells a story of a young boy so talented at the game of spinning the dreidel that a man is willing to gamble all he owns – even the man's own daughter's hand in marriage – on a dreidel game against the boy. The young boy, having promised his skills would one day win him a wife, agrees to the match. Stay tuned to see who wins as Mark regales us with Spin the Dreidel, from his album A Chanukah Present. "The Boy Who Hated Latkes" by Mark Binder from A Holiday Present (4:54)In this next piece, we've got a second story from the great Mark Binder today, where he tells of his son who passionately hates latkes. Latkes are a potato pancake fried in oil, and to this day, Mark's son refuses to eat them. Listen in on the origins of his son's distaste for this delicious Jewish treat as Mark tells The Boy Who Hated Latkes, from his album A Holiday Present.  "Japanese Folk Story" by Brenda Wong Aoki from Timp 2017 (8:14)We've talked games, we've talked food, now we'll talk love and greed! Producer, playwright, and storyteller Brenda Wong Aoki tells the story of Su, a beautiful woman with a magical gift and a husband who doesn't know the origins of that gift. Su is able to fabricate beautiful cloth for her husband to sell, but when she makes the cloth, her husband isn't allowed to enter the room. One day, in a spurt of greed, Su's husband breaks this rule, and is bewildered by what he finds. Lean in close as Brenda tells her Japanese Folk Story, from the album Timp 2017.  "John the Rabbit/Wolf's Garden" by Lyn Ford from An Evening at Cedar Creek (13:40)Ohio-born storyteller and teacher Lyn Ford explores the story of John, a rabbit who longs to eat up whole garden. One day, John the Rabbit attempts to eat up Wolf's garden, but finds he must learn Wolf's musical password to enter the garden gate. Find out what exactly Wolf's garden gate password is as Lyn tells John the Rabbit/Wolf's Garden, from her album An Evening at Cedar Creek.  "Dancing Granny (Carribean Folktale)" by Eshu Bumpus from Dancing Granny and Other Tales to Boogie to (8:05) Award-winning storyteller and jazz vocalist Eshu Bumpus, regales us with a story of Anansi, a lazy trickster who just keeps getting pulled from his TV by a family who demands to be fed. Anansi devises a plan to start stealing from the garden of the neighboring granny by luring her with a perfect song to boogie to. Anansi starts singing a jig and gets Granny dancing right out of her garden long enough for him to raid it. But Granny won't take these tricks for long. Find out how she fights him off in Eshu's Dancing Granny (Carribean Folktale) from his album Dancing Granny and Other Tales to Boogie to.  Radio Family Journal: "Grandpa's Costumes" (5:16)It's been a fun hour getting to know all sorts of quirky characters, like sly rabbits and dancing grannies. All this quirkiness reminds Sam of a quirky character from his life. Here's another entry into his Radio Family Journal.     

Eshu: Our tale today takes us deep into the western region of Nigeria, into the lands of the Yorubas. It was there that the tale of Eshu, the trickster god, originated.Eshu, also known as Elegba or Legba as in the Yoruba dialect, was a trickster god of the Yoruba people of Nigeria in West Africa. He was unpredictable, sly and fond of pranks that can be cruel and disruptive. Indeed, he was despicable. He was one who knew all the languages spoken on earth and served as a messenger between the gods and the people, carrying up to heaven the sacrifices that the people offered to the gods.Gather round and listen to the tale of the trickster divinity of the Yoruba people.

Eshu: Our tale today takes us deep into the western region of Nigeria, into the lands of the Yorubas. It was there that the tale of Eshu, the trickster god, originated.Eshu, also known as Elegba or Legba as in the Yoruba dialect, was a trickster god of the Yoruba people of Nigeria in West Africa. He was unpredictable, sly and fond of pranks that can be cruel and disruptive. Indeed, he was despicable. He was one who knew all the languages spoken on earth and served as a messenger between the gods and the people, carrying up to heaven the sacrifices that the people offered to the gods.Gather round and listen to the tale of the trickster divinity of the Yoruba people.

In this episode I will be interviewing Eshu Martin about the process of grief.  Eshu has been a Zen priest for nearly 20 years and has been Abbot at Zen West Buddhist Society since 2004. He is also the spiritual Health Coordinator  for Victoria Hospice. Eshu is a thoughtful, insightful man and I cannot wait to pick his brain as to how we can support people who are grieving.