Podcasts about globs

Welcome back, to The Dark Paranormal. This week Jason tells us about his encounter as a youth with an entity who identified itself, merely, as “Glob”. However, despite its seemingly nonsensical name, Globs presence was enough to strike fear into those who encountered it. How was “Glob” removed? Well, the answer may be much simpler than you think.Joining our Patreon team not only gives you early Ad-Free access to all of our episodes, it can also give you access to the Patreon only podcast, Dark Bites. Dark Bites releases each and every week, even on the down time between seasons. There are almost 100 hours of unheard true paranormal experiences for you to binge. Simply head over to:www.patreon.com/thedarkparanormalAlso check out our website:www.thedarkparanormal.com You can also follow us on the below Social Media links:www.twitter.com/darkparanormalxwww.facebook.com/thedarkparanormalwww.youtube.com/thedarkparanormalwww.instagram.com/thedarkparanormalOur Sponsors:* Check out Acorns: https://acorns.com/DARKPARANORMAL* Check out Happy Mammoth and use my code DARKPARANORMAL for a great deal: https://happymammoth.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

I have always suspected that lots of planets lined up identically for Victor's and my births. We don't finish each other's sentences, but we do finish each other's paragraphs.Contemplatives, dogma, dynamism, solipsism, belief systems, impressions and projections, impersonation, human spirit progression (with a long gestation and difficult birth) gave us some things to talk about, and then we took a breath and forged ahead.Victor is a delight and a wonder, a gentle soul who shares with me the beckoning light of curiosity. Take a journey with a couple of Globs of Energy.

Welcome back to Weird & Proud! This week we discuss: “Unlocked: Prison Experiment” on Netflix History of Prison & Human Behavior Weirdest Facts you Never Knew And of course Weird Secrets including: Globs out of my step mom Cashew Weiner My grandpa was murdered Make sure to send us in your own weird secret at www.speakpipe.com/weirdandproudpod  and follow us on Instagram @Weirdandproudpod - we love you weirdos! Also don't forget to get tickets to the live shows at samantharamsdell.com/events - YAY! --- Send in a voice message: https://podcasters.spotify.com/pod/show/weirdandproud/message Support this podcast: https://podcasters.spotify.com/pod/show/weirdandproud/support

Featuring daily highlights from The Afternoon Mix with McCabe and Jenny 2-7 PM on 101.9fm The Mix | WTMX Chicago. McCabe and Jenny dive into relationships, entertainment news, trending topics from pop culture and social media, new music, and more.  McCabe brought some Peeps in to share with Jenny in celebration of Easter weekend, but Jenny thinks Peeps are disgusting globs of sugar. McCabe loves Peeps and feels nostalgic when eating them because they remind him of being a kid. Who's the Bobo Head? The weekend is here and McCabe and Jenny went over some local events happening. They had listeners "Spill The Tea" and share what weird Easter traditions their families partake in. Jenny is helping McCabe with his dating journey and got an update on how things are going. Listen live at wtmx.com or with the free Mix App available in the App Store and on Google Play. Learn more about your ad choices. Visit megaphone.fm/adchoices

We celebrate Martin Luther King Jr thru music and words with Rage Against The Machine & Vernon Walters and explore the overlap of punk & pro wrestling with The Cramps, The Ramones, & D.O.A.! We also hear new tracks from Chipsum Gravy, Autogramm, Pissed Jeans, and Vampire Duwop, and classic punk & weirdness from Flipper, Nina Hagen Band, Rancid, Undertones, Goldblade, Pagans, Dillinger Four, Flaming Stars, Andrew W.K., Shrinkwrap Killers, Night Court, Globs, Ben Weasel, Pansy Division, Vice Squad, Groovie Ghoulies, The Freeze, GayC/DC, & Green Day!  Rancid- L.A.. River Rage Against The Machine- Wake Up (Live at Woodstock 24/7/99) Martin Luther King Jr.- Excerpt from "I've Been to the Mountaintop" 3 April 1968, Memphis TN Vernon Walters- M.L.K. Chipsum Gravy- Professionally Unemployed Goldblade- Fighting In The Dancehall Pagans- Not Now No Way Undertones- Girls Don't Like It  Vice Squad- Resurrection Groovie Ghoulies- Graveyard Girlfriend Green Day- Going To Pasalacqua  Freeze- Neighborhood Pride Pansy Division- Alpine Skiing GayC/DC- Gay Boy Boogie Ben Weasel- Addition By Subtraction Globs- The Sinister Origins Of Innocent Fun Night Court- Afraid Of The Dark Night Court- Surfin' Iona Shrinkwrap Killers- This Building Sucks For A Zombie Apocalypse Autogramm- Westbound Andrew W.K.- Party Hard Flaming Stars- Like Trash Cramps- The Crusher Ramones- The Crusher D.O.A.- Pencil Neck Geek Pissed Jeans- Moving On Dillinger Four- Doublewhiskeycokenoice Vampire Duwop- Some Kinda Hate Flipper- Ha Ha Ha Nina Hagen Band- Auf'm Bahnhof Zoo

Holmberg's Morning Sickness - Brady Report - Thursday November 30, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

Holmberg's Morning Sickness - Brady Report - Thursday November 30, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

The crew gets back to big boat business.   Discord: discord.stumblequest.com   Theme: Struttin' by Louie Zong   Music from https://filmmusic.io "Blip Stream"  by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0

In an exciting twist, Green Beret Capt. Hunter becomaes a Kindergarten teacher! And speaking of Green, have you heard about the Green Glob?

We are BACK …. Finally!!!!  The Metal Hand Of God ( MHOG ) podcast is coming back with a vengeance…    Hosts: Wayne and The RumGuy     We welcome back Hip Hop legend and MHOG family member SMO. We talk life, love, music, movies, smoking, the pandemic, being nice to other, getting stuff done and making a positive out of such a bad situation. We also talk health, Metaburger, Smo's new music and what's coming up next for him. It's always great to have him on the show and we look forward to having him back. As always thank you for the support and remember to share, like, follow and subscribe…   If you want to know more about Big SMO,his music, his book or his podcast go here check out his website  ---------> BIG SMO  Now don't forget if you want some Metal Hand Of God ( MHOG ) podcast SWAG ?? Then go check out our merch store on Tee Public.... RIGHT HERE -----> MHOG Store  Also dont forget for all your HORROR apparel and merchandise need go to FRIGHT RAGS!! Check out their incredible store at www.Fright-Rags.com  ... Also use the code MHOG10 at check out and get 10% off your entire purchase...... You wont be disappointed !!   Cover art by Wayne Theme Music by: Patrick Plata and Kyle Smith Podcast produced and mixed by:Wayne   Check for us on Twitter: @mhogpodcast & Instagram: mhog_podcast Our Twitch channel---> MetalHandOfGaming Our YouTube channel ------> MHOG podcast Check us out on Stitcher, Facebook & iTunes. Our website is www.mhogpodcast.com   Gamers can find Wayne and Justin under the tags "Nutso 187"and "The Rum Guy" on x-box live   #702 #SMO #BiGSMO #hiphoplegend #hiphop #MHOGfamily #metaburger #covid #vaccs #familylife #Dumbpeople #retired #VanLife #roadtrip #Cancun #mexico #hiphopartistBEAR #HipHop  #Beliefs #LoveofFamily  #FamilySupport #endracism #weareallonepeople #TeePublic  #fun #life #hobbies  #covid-19 #quarantineLife  #BabylonSporsbar #family #bignamedguests #pmstarproductions #merch  #toys #comicbooks #MightyConNOLA  #trading #WEAREBACK #XboxOne #Xbox   #thingstodo   #8yearsandcounting #mookie #life #SoothingSounds  #FunkoPops #popCulture #Music #fuckcancer #supportlocal #metal #metallife  #art #comicbooks  #horrormovies #concerts   #nsfw #comedy #podcast #mhog #funny #humor #metal #family #jokes #success #culture #freedom #videogames #sports #television #beer #animation #music #theFillmoreNOLA #FillmoreNewOrleans #metalhandofgodpodcast

Hey! You've found the Post Relevant Podcast Episode 1, with your host, Phil Ristaino. We are standing across the street from that strangely poetic Silver Lake over there, trying to look nonchalant as we glance at our retro copies of the Post Relevant Manifesto. Don't want to draw any undue attention while we're trying to decipher this mystery. And decipher we do! Here's how it all plays out on this magnificent first episode of the Post Relevant Podcast: 1. Phil welcomes us to the podcast, defends his initiative, and lays out the skinny as to the sequence of events. 2. A strange and gnarly, tripped out tale of high adventure unfolds as our intrepid host journeys about Prague, leading to.... 3. ...The invention of the Post Relevant Manifesto, which is read aloud for the first time in 25 years. Shield your eyes! 4. Also for the first time in 25 years -- we hear the original demo of the song "Prague" by Phil's old SF band, the Globs. Shield your ears! 5. Finally, we dip a toe into the Silveriest of Lakes, as Phil and his brother, artist Andy Ristaino, dig into, tear apart, and reassemble the deeper meaning of David Robert Mitchell's 2018 masterpiece "Under the Silver Lake." This is the first in a series of conversations as the two bros attempt to unlock the secrets and solve the cyphers of this esoteric hipster noir. A mystery a minute! More interpretations than you can shake a skunk at! Bark once if you know what that damn bird is saying! Turn your teeth and shoot for the stars, Soda Pop, its swimmin' time! Find out more about Phil at www.TheseAreDreams.com. Contact him @philristaino on Facebook and Instagram. Find out more about Andy at www.AndyRistaino.com --- Send in a voice message: https://anchor.fm/post-relevant999/message

Hey! I Gotta New Book Podcast Episode 21 The Last Kids on Earth : Thrilling Tales from the Treehouse by Max Brallier Illustrated by Douglas Holgate & Friends Logan and Richard are back from Summer Break and are excited to share a new book by Max Brallier. The boys discuss a new anthology series in the Last Kids on Earth book series. They talk about three of the five stories in the book. The two boys share their thoughts on Sour Patch Kids, Globs and all things thrilling. So climb up into your nearest treehouse and get ready for a thrilling review of tales brought to you by Max Brallier. Title theme song Speed Racer by Blake (c) copyright 2015 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/blakeht/49288 Follow us on Twitter : @HeyIGottaBook Facebook : Hey I gotta New Book Our Website: Https://HeyIGottaNewbook.com

Hello Ladies and Gentlemen, Im your host Jesse Bee humbly welcoming you to The Autoflower Show Thanks for joining us as we Explore Autoflowers From Seed To Soul. follow us on instagram to catch these interviews live @theautoflowershow, subscribe to the shows patreon for bonus perks and content and check out the brand new merch we have available over at www.teespring.com/stores/the-autoflower-shop Join us on Patreon for bonus perks and exclusive access --> www.patreon.com/theautoflowershow Huge shouts goes to todays guest OG GLOBBY JOHNSON. Globs took time outta his busy schedule to give us some insights into the origins of his journey through cannabis and his plans for the rest of 2021. Easily washing the most biomass in all of Canada Globby certainly has some incredible views into the world of Canadian hash. ***DISCOUNT CODES*** For 10% off @futureharvestdevelopment visit www.futureharvest.com use the code ~~~> THEAUTOFLOWERSHOW10 THEAUTOFLOWERSHOW

Global Village Trucking Company with James Lascelles in conversation with David Eastaugh Lascelles was a co-founder of the Global Village Trucking Company, known to its fans as "The Globs", in the early 1970s. The band, the road crew and their families all lived together in a commune in an old farmhouse in Sotherton, Suffolk,[2][3] and undertook numerous benefit concerts and free festivals, playing extended free-form jams,[4] making them a well known UK live act. The band shunned record companies, but played on the Greasy Truckers Live at Dingwalls Dance Hall benefit album at Dingwalls in 1973, and in November 1974 they recorded an eponymous album at Rockfield Studios, Monmouth, Wales. In 1973 the BBC made a documentary about Global Village Trucking Company, their communal living and their aim to make it without a record company. The BBC updated the documentary for the What Happened Next series, shown in May 2008, which included their first gig in 30 years.[5] This re-union led to other Global Village gigs at Glastonbury 2008 and other festivals.

PLAYLIST 7/29/21 The Raging Nathans – “Remember” – ‘Waste My Heart' The Dents – “Crawling” – st Cluttered – “The Toll” - ‘Accidents' Death Kill Overdrive – “My Strange Addiction” – st Neighborhood Brats –“Miss America Pageant” – ‘The Confines of Life' Meatwave – “For Sale” – ‘Volcano Park' Alien Boy – “Nothing is Enough” – ‘Don't Know What I Am' Dollar Signs –“Nihilist Gundam” - ‘Hearts of Gold' Dead Bars – “Won't Go Far” – split w/ Raging Nathans Death by Unga Bunga – “Not Like The Others” – ‘Heavy Male Insecurity' DeeCracks – “Don't Turn Your Heart Off” – ‘Serious Issues' The Fairmounts – “Make You Smile” – ‘Eik Namo' Rotten Mind – “Negative Space” – ‘Rat City Dog Boy' Pavid Vermin – “Electric Blue Carpet” – ‘The Beach Boys Never Surfed' The Globs – “Taco Tuesday” – ‘The Weird and Wonderful World of The Globs' Becker – “Elder Hostile” – ‘Bigger Than Today' The Reaganomics – “OK Day” – split w/ The Raging Nathans Tommy Ray – “In Love Again” – ‘Handful of Hits' Lucy and The Rats – “Hold on Me” – st Honeychain – “Go Away” – ‘Pocket Full of Good Luck” Houseghost – “Widdershins” – st Gallows Birds – “Local Girls” – ‘Quaranteenage Kicks' The Braats – “Zonobijka” – ‘Zonobijka' The Dahmers – “Brain Spiders” – ‘Witching Hour' The Carringtons – “All on Me” – ‘Cursed City' Blast Bomb – “Rock N Roll Junkie” – ‘Rock N Roll Junkie'

PLAYLIST 7/15/21 Bashful – “Boston Shitter” – ‘Driving' Foolish 27 – “Melhor Assim” – ‘Fase 1' The Manges – “Endless Detention” – ‘Pop Punk Addio' The Budweisers – “Rocket to Your Heart” – ‘Lords of Budtown' The Asteroids – “Telephone” - single Bad Cop/Bad Cop – “Breastless” - ‘The Ride' Outtacontroller – “City Lights” - ‘Sure Thing' Biznaga – “Error 404” - ‘Gran Pantalla' Capital Youth – “Hold On” – ‘Mixtape Vol. 1' The Real Sickies – “Trapped Inside” – ‘Quarantined' The Globs – “Spiral Stairs” – ‘The Weird and Wonderful World of The Globs' Outpatient – “Flowers Gathered” – ‘Unreality' Chantilly Bears – “WDYADMB” – ‘I Love You Dead' PEARS – “Naptime” – st The Speedways –”Your Brown Eyes Look So Blue” – album ‘Radio Sounds' The Manikins – “Love at Second Sight” – ‘From Boroadway to Blazes' Kurt Baker Combo – “Wayna” – ‘Stardumb 2020' Tommy Ray – “Trouble” – ‘First Hits Free' The Yum Yums – “Lie to Me” - ‘For Those About to Pop' Vista Blue – “Summer Wonderland” – ‘Hit The Floor' The Sleep Demons – “Dance on it's Grave” – ‘Symphonic Schizoid' Mammals – “Expanding Heart” – ‘Look Around You' Starter Jackets – “Foreign Bodies” – ‘Fucked it up for Everyone' The Subjunctives – “The Fastbacks Are the Greatest Band in History, So Fuck YOU” – ‘Sunshine and Rainbows' Real Tears – “Rainy Day” – ‘Hay Fever' The Dopamines – “Groundhogs Day Parade” – ‘Dead Wax: A Rad Girlfriend Records Compilation' Rational Anthem – “Annexation of Puerto Rico” – ‘Kat Music For Kat People Volume 3 - Picks of the Litter' Jon Cougar Concentration Camp –“The Mob Rules” – ‘Dead Wax: A Rad Girlfriend Records Compilation'

Tammy talks about hair globs in the public showers, Wendy gets down to the root problem. Tony goes off road! No seriously, in the 2021 #JeepTalkShow #Gladiator Could #Jeep be providing Gorilla Glass windshields soon?

PLAYLIST 4/22/21 Pavid Vermin – “Is This A Comp- (Overly Literal Theme From Kat Music For Kat People Vol VI- God Emperor Of Tune)” – ‘Kat Music For Kat People Vol VI- God Emperor Of Tune' Teenage Halloween – “Holes” - ‘Kat Music For Kat People Vol VI- God Emperor Of Tune' Horror Section – “Never Going Home” – New 7” ep on Eccentric Pop ‘My Bloody Valentine' The Hallingtons – “Slaughterhouse” – new single Classic Pat – “Melissa Joan (Don't Break My Heart)” – ‘Songs My Friends Wrote' Becker – “Elder Hostile” – ‘Bigger Than Today' Sino Hearts – “Back To The Sentimental Club” – ‘Rock N Roll Hurricane' Doc Hopper – “Drugs and Masturbation” – '44 Golden Greats' Mikey Erg – “Amy Left Me for an Emo Guy” - '44 Golden Greats' Adam and The Puppet People – “It Only Hurts When I Think” - '44 Golden Greats' Powerhawk – “Any Minute Now” – single The Erratix – “When Will It End” – single DeeCracks – “Lost in The Middle” – ‘Serious Issues' Les Shirleys – “Forever is Now” – ‘Forever is Now' Pity Party – “Masculinity is a Prison” – ‘Kat Music For Kat People Vol VI- God Emperor Of Tune' Skegss – “Down to Ride” – ‘Rehearsal' Dog Brainz – “Big Orange Ball” – st Lisasinson – “Volverte A Enamorar” – ‘Perdona Mamá' Death by Unga Bunga – “Modern Man” - ‘Heavy Male Insecurity' Peter and The Berlin Blackouts – “Captain on The Hightanic” – ‘Make Punk Rock Great Again' Mom - “I Want You to Feel What I Feel” - ‘Pleasure Island' Lucy and The Rats – “Melody” – st The Globs – “Hey Kid!” – ‘The Weird and Wonderful World of The Globs' Lucky Malice – “Magnetic” – ‘Magnetic' 7 Years Bad Luck – “You, The Ocean and Me” – split w/ Dorkatron The Reaganomics – “Tear Off Your Face” – ‘Midwest Duress' Wicked Bears – “Cameron” – ‘Tuning Out' Nerve Button – “Ready Steady James” – ‘Volume 2' The Shell Corporation – “Hot Bleach Injection” – ‘Told Ya So'

Episode Notes Being out of work sucks, especially when that's how you value yourself. But what if you have another calling, a deeper calling... a DARKER calling... Torture and Other Job Skills by Killian Crane Buy the new "Babysitter Massacre" book! https://www.amazon.com/dp/B08P4ZF9LG/ Get Cool Merchandise http://store.weeklyspooky Support us on Patreon http://patreon.com/IncrediblyHandsome Support Weekly Spooky by donating to their Tip Jar: https://tips.pinecast.com/jar/weekly-spooky Contact Us/Submit a Story twitter.com/WeeklySpooky facebook.com/WeeklySpooky WeeklySpooky@gmail.com Music by Ray Mattis http://raymattispresents.bandcamp.com Produced by Daniel Wilder This episode sponsored by HenFlix.com For everything else visit WeeklySpooky.com Transcript: Have you ever been laid off? I had my dream job in management. Good benefits, great pay. Small company, room to grow. Every day at work was a genuine pleasure. Most people say that to kiss their boss’s ass. But not me. I loved my job. When Debra left me, the job was all I had. I poured my soul into it. Those under me, they didn’t understand. They whispered behind my back, called me, “pushy, tight ass... nut job.” Some of them even called HR on me. They couldn’t understand. I demand nothing but the best from my team. Do your job to the best of your ability and we’ll have no problem. Do sloppy work, and I will make sure you face the consequences. And as for all the whispers behind my back, what they failed to realize was that my methods worked. I was by far the best manager at my job. Punctual, organized, efficient. Those under me knew my expectations. You see, people are like coal. If you put enough heat and pressure on coal, it becomes a diamond. Diamonds are the standard we should all strive to achieve. One thing I cannot stand is failure. I punished those that failed me. There are far too many weaklings in the workforce. The answer of course isn’t to fire them on the spot, that’s a waste of coal. But punishment, that’s the answer. More heat, more pressure. There’s a diamond in there somewhere. I was the best at making diamonds... until this fucking COVID-19 virus. I will never forget the day my boss Ryan called me into his office. The first words out of his mouth were, “I’m sorry I have to do this.” He was flat, formal, and precise. I sank into my chair. He said some more things about the virus, uncertain times, cutbacks in every department. Across the board, he said... I didn’t listen to all that. I was too busy looking into his eyes. They said everything I needed to hear. He wasn’t sorry, not at all. He wanted me gone. I couldn’t help but cry. It was unsightly and unprofessional, but the job was my everything, my only thing. And he took it from me. He leaned back in his chair and sighed. “It came from corporate. Nothing I can do.” Years of service, up in smoke. As COVID made a killing, so did delivery services. I had everything delivered to my apartment; food, basic supplies, alcohol. Not that I was afraid of the virus, I just... didn’t have the strength to go outside. I was a failure. Me, the best employee in my division, possibly in the entire company... had been laid off. Let go. I knew it had nothing to do with the virus. That was just an excuse for the higher ups to trim the fat. I never thought of myself as fat before then. Fat was something gross to be discarded. I hated myself, but more, I hated everything else. I started the search for a new job immediately. I updated my already outstanding resume, surfed the appropriate websites. Someone would have me. My bed became my new office as I searched. My laptop lay to my right, next to the television remote, the pretzels, the two liters, the whiskey, the box wine... I used the same cup for everything. Saved time during the search. Every time I went to the door for a delivery, I had to kick the daily paper out of the way. Despite the pandemic, the paper never stopped coming. Over time, they became a pile next to the door. They had their own ozone, their smell of ink and paper so much more pleasant than the rest of the place. It was funny. The world shut down, but not the mail. Should have been a mailman, I thought. Definite job security. Of course, there were no mail jobs available. There were almost no jobs available. And the ones that were disappeared fast. The market was more dog eat dog than ever. I’d send in my resume and check back the next day to find the position no longer available. And I hadn’t gotten a call. Their loss, I thought... but then more and more listings disappeared. Blinking out like stars in the night sky. When the check from the government came in, that was the worst. I’m sure it thrilled some people to receive one, but not me. I felt like a leech. More than anything, I wanted to work. To earn my way. But the night sky had grown dark, and so had my apartment. In the darkness, I fantasized about hurting Ryan. A lot. I wished it was just me and him and a fucking pipe wrench... Those weeks were hard on my ex, Debra. She called me often. I remember standing in my bathrobe at the window talking to her. The view was nothing spectacular, but it was nice to stand in the sun and listen to her voice. Too bad I couldn’t see her in person; she’d caught the damn virus. “I’m worried about you,” she said weakly between wheezes. I held my phone in the crook of my neck, checking my robe for smells. I’d flipped it inside out a few times in the past week. It itched, but I had a fix for that. A sort of numb-all recipe I’d perfected. “Me?” I asked on my way to concoct the recipe. I accidentally stepped in a puddle. Liquid seeped through my sock and in between my toes, “Don’t worry about me. Hey, this might cheer you up. I found out today they shut down my entire department. Even Ryan, the asshat that fired me, lost his job. And I think he has COVID!” “You shouldn’t laugh at that,” she said, “COVID’s no joke. I’m not liking it so far.” “Well, I hope it fucking kills him. Hang on, let me put you on speaker.” I put the phone down on the table. It was tough to find free space, so I knocked a takeout container to the floor. Globs of congealed rice spilled onto the hardwood. “I know you loved your job, but you shouldn’t say things like that.” My old job... it was why she left me to begin with. Late work hours, dates cancelled, time missed and all that. As she droned on about what the fuck ever, I poured myself the perfect numb-all. Three fingers of red wine, two fingers of bottom shelf whiskey. Pour over ice and slosh until mixed. Only one more ingredient... “No, I’m not,” I said, holding a little orange bottle. I wasn’t sure if that was the right response or not. Based on her silence, it wasn’t. Debra had left the bottle here at our- my apartment after a surgery on her knee. My supply of the last ingredient was low. The pills rattled as I popped the top and fished one out. Debra snorted. “You’re being strange today.” “Eh.” “Is there any way I could maybe see you, you know, after I get better? I’m just… tired of being cooped up.” I put the pill on my tongue and washed it down with a sip of my drink. Numb all coming right up. “We’ll have to see. I’m just so… busy these days.” “Busy?” “Yeah, sorry… can’t... can’t talk right now, I’m at work.” She went silent for a while before finally saying something terrible. “Take care of yourself, okay?” “Hey,” I said, ice clinking as I downed the rest of my drink, “who’s my pretty girl?” I licked my lips and tasted the world slowing down. Debra had a tattoo on the small of her back, a purple butterfly. Thinking about it made me the numb-all version of hard. “Stop,” she said, “you know it’s not like that anymore.” “Come on,” I slurred, touching myself. I tried to hide the slur, but that hadn’t been my first drink of the day. Or my first pill. “Who’s my pretty girl? Smile for me.” “Call me sometime, will you?” Fucking bitch, I thought before hanging up. Oh, how I wanted to fuck her brains out, and maybe more. If only... Oh well, I thought, eyes bobbing listlessly upon the fucking wreck that was my apartment. Before, I kept things spotless and sanitary. I did my laundry the second the hamper filled up, wash, dry, fold, iron, put away. Now there were dirty clothes on every piece of furniture, empty bottles and containers on every flat surface. The floor was a minefield of trash and puddles. The smell of household cleaners and soap was gone, replaced by something... sad. The only agreeable smell came from the pile of papers near the front door. It’s ozone of pressed ink smelled so nice… I blacked out then, not sure for how long. I woke lying on the ground in a half-dried puddle of piss, my head nestled against the help wanted section. And then it came to me… The help wanted section! Why hadn’t I thought of it before? How stupid had I been? Of course, all the job positions would be online, but what if…? I tore into the pile. That ozone of ink and paper stained my fingers as I flipped and tore and read. Loose sheets crumpled and flew away. I didn’t care about the news; everyone knew the world was going to hell already. I devoured the job ads, holding them in the light pouring through the window. And I was right! Every single paper had the same offer! Every single one of them! “Management position. Job is challenging and a test of dedication and skill. Nothing but excellence will be accepted.” I danced with joy, kicking trash and splashing in puddles as I spun around and around. I tripped over my couch and busted my lip on the armrest, but stood with not a care in the world! The answer had been in front of me all along! Everyone had missed it because no one reads the paper anymore! There wasn’t a phone number to call, only an address. I had no time to shower. Some other desperate fuck might find the ad too. I laughed at his misfortune. “Sorry, pal,” I screamed at the top of my lungs, “I’m gonna beat you to it!” I tried calling Debra. She didn’t answer. I found that she’d called me in my blacked-out state, but… I’d call her later, after I gave her the good news. Because things were about to change. I would get that job. I would. I peeled my wet underwear off, splashed water on my pits and junk. Put on deodorant, scrounged around and put on my cleanest work clothes. Slapped a mask over my face. I felt the blood of my busted lip leaking onto it. I grabbed another mask off the floor so I could change them when I got to the interview and filled my flask; four fingers of whiskey, topped to the brim with red wine. I mixed them together and took one good pull of liquid courage to calm my thudding heart. I pocketed the flask, my phone, wallet and keys. One good slap to the face, and I was on my way.  I barely remember the bus ride there. I worked through what I needed to say at the interview… but I was nervous. Like my first date with Debra, only worse. This was my chance out of the hole. My only chance. I lowered my mask and took another pull. The bus came to a halt at my stop. I paid as I got off and was stunned by what I saw.  The building was beautiful; a perfect square of black glass, like an onyx finger pointing accusingly at the sky above. I smelled the threat of rain through my mask. A good rain was just what the world needed. The filth could drown in it… but not before I got inside. I hurried across the street as thunder echoed in the distance. I stopped shy of the door, checking my dark reflection. I fixed my tie, checked my mask. Yep, there was blood. I threw it out, licked until there was no more red, and put a new mask on. But not before another pull of liquid courage. The whiskey wine burned my busted lip, as well as a fresh pain I hadn’t noticed before. In my fall, I’d apparently knocked one of my teeth loose. I wished I’d brought a pill or two… and then I remembered something else I should have brought. My resume! I’d come empty-handed! Lightning arced in the sky. Too late. I couldn’t go back... The flask loosened my nerves. The pain in my tooth made me sharp. It was time to prove I wasn’t fat to be discarded. I was excellence. I was perfection. I walked to the door like I owned the place and hit the buzzer. The sun was low in the sky. I thought maybe I was too late, but someone buzzed me in. The place was dark. No receptionist, no activity. An open elevator cab was the only source of light in the place. I stepped in and knew that something was wrong. This building was immense… but there were only two buttons. No floor numbers, just an up and a down. The boss had to be upstairs. Downstairs was probably to a parking garage or something. I pressed up. I worked my loose tooth with my tongue as I ascended. The wait was agonizing. When I thought it would never end, the doors opened. To either side were empty offices… but straight ahead I saw a man in a massive office standing behind a desk. He stared down at the world through a great window. Someone must have buzzed me in, and I hadn’t seen another soul in the entire damned place.  I tread towards his office, scared for reasons I didn’t understand at the time. Even from behind, this man exuded power. He spoke without turning. “Come in.” His voice was velvet ice. I couldn’t help but follow his command. I stepped into his office like I’d stepped on a puppy dog. He turned with a smile. His hair was neat, blonde, slicked back on his head. His face was clean-shaved. I realized with broiling anxiety I hadn’t shaved before I left. I reached to shake his hand. “Hello, I’m- “ “I know who you are,” he said, gesturing to a chair, “Sit.” My stomach turned.  “You know who I am?” I did as he command and sat down. Though I was scared, I couldn’t help but admire him. He was beautiful. And terrible. All my preparations flew out of the window, if I’d had any to begin with. I sat, crossing my legs and then uncrossing them. I didn’t want to seem disrespectful. He walked to a small cabinet. “Drink?” A test. He wanted to see how professional I was. He poured himself two fingers of scotch. It was my chance to impress him. I pulled my flask from my pocket. “Thank you, but I brought my own.” He laughed a practiced, unreadable laugh. Maybe I’d passed his test, maybe I’d failed spectacularly. I noticed there was no name placard at his desk. I didn’t know what to call him. “What do I call you, sir?” His coal eyes went to my mask. “You don’t have to wear that around me.” I took it off, noticing this mask was also soaked with blood. It was odd he’d said nothing about it. I began to spiral. Whatever this was, it was feeling less and less like an interview. I recognized the look in his eyes. It was the one I gave my employees when I had them right where I wanted them. At my old job, I constantly tested those under me, prodded them like a shepherd, herded them in the direction I wanted them to go. Now I was being herded. But towards what? “So, sir... what are your expectations?” He took a sip of his bourbon. I took a sip from my flask. It helped to even me out. Nervously, I pressed on my loose tooth, grimacing at the pain. The man studied me with that look. “I expect excellence. Nothing more, nothing less. And I think you have what it takes.” “You do?” “Yes. I think you have all the qualifications.” At this point, I was at a crossroads. I wanted this job, even though I didn’t really know what it was. But everything in me told me to run, so I tried to take an out. I pretended to pat myself down, looking for something. “I’m sorry,” I said, “but I forgot my resume at home, on my desk.” The man smiled. He saw what I was trying to do. “You don’t need it. You see, I’ve been waiting for you.” The urge to down the rest of my flask was strong. I tried to hide the tremble in my hand but couldn’t. Taking this interview had been a mistake. But… I was compelled. And desperate. He knew that. “Waiting for me?” “Yes. You finally saw my ad in the paper.” The room spun. I thought for sure I had lost my mind. “It’s a shame,” he said, “no one reads the paper anymore.” I stopped fighting the urge to down my flask and just did it. It poured over my loose tooth, and the world stopped spinning. The man finished his drink as well. “Are you ready to begin the interview?” I could barely control my breathing. “This… isn’t it?” “No. The interview is downstairs. Come.” He stood and walked out of the office. I hurried to my feet and followed. We got in the elevator cab, and he pressed the down button. We went down… and down… and down… and down. Far longer than it took me to go up. It got hot. Maybe actual heat, maybe my nerves. Questions buzzed in my head. I realized I never even asked what the position was for, yet here I was in a box descending the depths with this stranger. “So... what do you do here? The ad was vague.” “It’s best if you see for yourself.” The elevator didn’t open to a parking garage like I thought it would. It opened on a pristine hallway lit by fluorescent lights. At the end was a large metal door. The man walked ahead. He looked over his shoulders and called to me. “Here, boy.” He clicked his tongue, and I was out of the elevator. As we walked, he pulled a keycard from his inner suit pocket. He waved it in front of a reader, and the door popped open with a hiss. Beyond was pure darkness. Someone was in there, crying. The man smiled at me. “Are you ready to begin the interview?” He stepped inside, and fluorescent lights illuminated the room. Ryan, my old boss, rested on his knees sobbing. His arms were clasped in chains that hung from the ceiling. Every part of me screamed to run, but I stepped inside anyway. Ryan looked up at me. There was recognition in his face. “Thank God, it’s you! You have to help me!” On a rolling table next to him lay a red pipe wrench. I couldn’t believe what I saw. “What... what is this?” The man held his chin in one hand, studying me. “This is what you wanted, isn’t it?” “How did you know?” He gestured at the wrench. “This is the job. This is what you will be doing.” He gave me a wink. “Show me excellence.” My heart thundered in my chest as I approached. Ryan forced a smile on his face. “Hey man, it’s good to see you! Jesus Christ, help me! I’ve been in here for days now!” I lifted the wrench in my hand. The weight felt good. Really good. Ryan shook his head. “What are you doing?” I pressed so hard on my loose tooth it popped out of its socket. I grinned at Ryan, blood seeping out of my mouth as I spit my tooth out. It jangled on the floor like an ivory marble. “I’m sorry I have to do this.” I was flat, formal... precise. “No,” he cried, eyes bulging like a pig at the slaughterhouse, “please! No- “ I swung. Hard. The wrench sank into his temple. His eye popped from its socket. He sputtered a bit, then went limp in his chains. I grabbed him by the hair, hauling him up. “No,” I said, “he can’t die. He can’t fucking die!” The man grabbed my shoulder, surprising me. “Why can’t he die?” “Because... I want more!” The man’s eyes went from twin black coals to shimmering diamonds. He touched Ryan on the ear, and he came back to life screaming. “It hurts!” The little piggie squealed, “oh God, it hurts!” I hauled his face to mine. “No God! Not here! I’m your god now!” I pulled the dangling eye from his head and popped it in my mouth. I tasted his sorrow as I chewed. “It came from corporate,” I shouted over his screams, “nothing I can do!” We played with Ryan for a very long time. I struck him, and the man brought him back. All that anger and fantasy released with unholy zeal. Goddammit I was in heaven. I fell to my ass, heaving. Ryan hung from his chains in an unrecognizable slump. His ozone was salty but sweet. Tears stung my face. “Thank you,” I told the beautiful man, “Did... did I do good?” He nodded. I smiled and wiped the tears away. “Does that mean I got the job?” “Not quite. There’s one more test.” He snapped. The lights went out, and Ryan’s ozone disappeared with them. The man snapped again, and the lights came back on. When my eyes adjusted to the sudden illumination, my heart stopped. Where Ryan was once shackled sat Debra, bound by chains dangling from the ceiling. She screeched, trying to stand but was unable.  “What- what-“ she stammered, too shocked to speak. The man put his hand on her shoulder. His eyes were black coals that sucked her in. “Relax, my dear,” he cooed, stroking her cheek, “take a deep breath.” She calmed at his touch. “Where am I?” “You’re home, where you belong.” “No, I’m not. I was in my apartment, on my couch. How did I get here?” “You’d be surprised what lands you here.” “Where the hell is here?” The man pointed at me. “Isn’t it obvious?” She fell silent as she looked me up and down. I looked down at myself. Ryan’s blood still soaked my everything. The man ran his fingers through her hair. She shrank from his touch. “I want to go home now.” The man laughed. “I told you, you are home. This is where people like you go.” “People like me?” “People that deserve to be punished.” She winced at me as I stood, wrench in hand. I found the man staring at me. His gaze was piercing, but I found the words. “Do... do I have to?” The man’s eyes glowed like diamonds. “Do you want this job?” I remembered being in my apartment, dirty and all alone. All Debra had left me with was a broken heart and a little orange bottle of pain pills. I’d never admit it, but sometimes I would fantasize about fucking her, hurting her, sometimes both. But I never dreamed I would have the chance. Now, I wasn’t so sure. It didn’t feel right. The man backed away as I approached. Her eyes pleaded for help. I remembered all the good things. Cuddling with her as we watched television, walks to the park on late nights, drunken cab rides home. Thinking about those things, I almost wanted to set her free. “I tried calling you,” she said. “I know. I was going to call you back.” “I was in so much pain. And then I blacked out.” I cradled her face in my hand. She flinched from me as Ryan’s blood stained her jaw line. “Good news,” I said, “I’m having an interview! I think I’m doing really well, too.” Her lip trembled. “Get me out of here. Please.” Our time together had been sweet. And I was mostly to blame for why things fell apart. But... I needed this job. She looked confused. “What are you waiting for? Let me go!” I felt something in my heart rot as I fondled the edge of her chin. “Who’s my pretty girl?” Tears ran down her face and over my hand. “Please,” she begged, “let me go.” I gripped her face tight, scrunching her lips together. “Who’s my pretty girl?” Her mouth worked like a fish out of water. “I... I am. Just please- “ “I thought things weren’t like that anymore.” “They are! I swear to God- “ “No God! Not here! Only me! I’m your god now!” She burst into sobs. I almost felt bad, but I just had to rub it in. “Still feeling sorry for me?” She whined as she looked away. I choked her, forcing her to look at me. Heat and pressure... I would have my diamond. As her face changed colors, I let go. She collapsed, coughing. “What do you want?” She screamed. “I want you to smile.” “What?” “Smile for me.” “Please... don’t do this.” “Smile for me, pretty girl.” She looked me in the eye, still crying. A forced, agonized smile split across her face. I gripped my wrench tight. I remembered how pretty her smile was. Those candid moments at a restaurant, in bed after a date, in the morning over breakfast.  Those thoughts drowned as I remembered all the things she said to me when she left... She mewed like a bad little kitten. “Things- things can go back to how they were. Would you like that?” I grinned back at her. “Sorry. Can’t talk right now. I’m at work.” Her smile evaporated into a shriek, and my wrench found her teeth. We played for a very, very long time. When I finished punishing her, I collapsed in a heap and passed out. I woke up in my apartment, head resting against the mostly shredded pile of newspapers. Lying next to me was a sheet of paper. Only... it wasn’t a sheet of paper. It felt wrong under my fingers. Too soft to be paper, and too thick. I instantly dropped it to the ground when I realized it was human skin. It suctioned to the floor. The flowery script stared up at me. I peered down and saw that it was a contract. A job offer. I’d done it! I was a contributing member of society again! I found a knife and pricked my thumb. It burned as I pressed on the dotted line, right next to a very familiar purple butterfly. Have you ever been laid off? I thought I had my dream job. Good benefits, great pay. The company was small, family oriented. I genuinely enjoyed coming to work every single day. Most people just say that to appease the boss. Now, I’m the boss. Now, I have my dream job. My nightmare job. Every day I’m at work, I feel myself changing. When I look in the mirror, I see my eyes are now as black as coal. Maybe one day you’ll get let go from your “dream job.” You’ll find yourself numb and alone and lost. Maybe you’ll see a special ad only found in the paper. After all, no one reads the paper anymore. That ad will lead you to a tall building made of black glass. Come on in. We’re always hiring. Support Weekly Spooky - Scary Stories to Keep You Up at Night by donating to their Tip Jar: https://tips.pinecast.com/jar/weekly-spooky Find out more at http://weeklyspooky.com

Krisha has been working long hours at the theater. She is calling in from the parking lot between shows. The podcast recording schedule got thrown off when she was called in to work as an emergency fill-in for someone. It may take another couple of days to get back on track. Frank has a new roof and is awaiting installation of his new gutters. The roofers had a problem when replacing the plywood over Frank's bathroom. They accidentally broke through the ceiling. Globs of cellulose insulation covered the toilet and floor. Frank's grandson told him that last week's story about his birthday present was “TMI.” Frank's daughter revealed to him that he embarrassed her when she was young by mentioning on the radio that she listened to songs from The Sound of Music as she went to sleep. Krisha thought she lost the key to an important cabinet at the theater. She found it in the chest pocket of her overalls. Krisha & Frank both tried to make the “plenty of room” joke. While on their joint YouTube account, Frank was shown a targeted ad for smaller women's lingerie. Today's episode is sponsored by The Middleburg Barn at Fox Chase Farm. The Middleburg Barn is a perfect venue with rustic luxury for your wedding or special event. Located 40 miles outside D.C and 25 minutes from Dulles Airport. Visit TheMiddleburgBarn.com or call 540-687-5255. Support the Krisha & Frank Show by purchasing our merchandise at https://teespring.com/stores/KrishaAndFrank  Sign up for a 30-day trial of Audible Premium Plus and get a free premium selection that's yours to keep. Go to http://www.audibletrial.com/KrishaAndFrank  Visit our website http://KrishaAndFrank.com. Send a text message or leave a voicemail for Krisha & Frank at (865) 236-0399. Please subscribe to our YouTube channel and hit the bell for notifications: https://YouTube.com/KrishaAndFrank  Subscribe to the audio of our podcast on your choice of apps including https://krishaandfrank.podbean.com/  Find us on social media: https://www.facebook.com/KrishaAndFrank  https://www.instagram.com/KrishaAndFrank  https://www.twitter.com/KrishaAndFrank  Thanks! K&F

PLAYLIST 4/1/21 Mikey Erg – “Can't Be Too Careless” – st Becker – “Regarding Reggie” – ‘Bigger Than Today' The Fairmounts – “Window” – ‘Eik Namo' The MIxelpricks – “Daddy Issued” – ‘Newest Album' So-Cho Pistons – “Ready Steady Go” – ‘Knuckleheads' DeeCracks – “Don't Throw It Away” – ‘Serious Issues' Lonely Sancho – “Count on Me” – ‘Edge of Losing Control' The Airport 77s – “Cristine's Coming Over” - ‘Rotation' Kim Warnick – “Sunday Girl” – single Honeychain – “Spaceman” – ‘Pocket Full of Good Luck' Neighborhood Brats –“Who Took The Rain” – ‘The Confines of Life' Rad Gnar - “End of The World” – ‘Bottomless Hits' The Erratix – “You Don't Care” – single Tommy Ray – “One Step Closer” – ‘Handful of Hits' 77 Gianky Project – “Tutto Può Cambiare” – ‘Non Mi Fermerò Mai' Peter and The Berlin Blackouts – “Gonna Go Now” – ‘Make Punk Rock Great Again' Self-Cut Bangs – “Perfect Posture” – st The Globs – “The Tugboat Captian” – ‘The Weird and Wonderful World of The Globs' Tommy and The Rockets – “You Don't Know What You've Got” – ‘Scandinavian Affair' The MSGs – “Ray Gun” – ‘Stay Healthy, Stay Calm and Stay Positive' Young Francis Hi Fi – “I Wanna Hold You Tight Tonight” – single Zero Zeroes – “Mouth Full of Snakes” – st Pavid Vermin – “Sun King” – ‘Cutting Corners' Hot Knife – “Rippin Buds, Rippin Buds” – ‘Dread' PUP – “Anaphylaxis” – ‘This Place Sucks Ass' The Shell Corporation – “Told Ya So” – ‘Told Ya So'

The Globs have returned!

We talk about Smooth music and The Globs! We haven't recorded anything in a while because Rick has been a busy baby. We will be recording again soon.

Welcome to Week 18 of the Wise Not Withered Character Showcase! This week I am proud to present Ronda, our 58-year-old pirate captain! Her dark, epic story was written by Priyanka from India, and captivating illustrations by Fanny from Mexico. When it came to the Pirate Captain, I really had no idea what I wanted the story or her look to be like. I personally have very little experience with pirate stories and characters—I watched the first Pirates of the Caribbean movie in high school, and... that's it. So I really left her look and her story up to the artists that chose her from the list. Fanny, Ronda's illustrator, got to work right away and was actually the very first illustrator to complete the character's drawings! So Ronda's illustrations are more so snapshots of her personality and lifestyle, rather than directly connected to the story. Fanny was so great to work with; she sent us her sketches, did very well with my alteration requests, and completed the full set of illustrations very, very quickly. She may have been one of the younger artists I recruited for the project, but she worked very maturely and efficiently. https://www.instagram.com/p/BwJDJYOBScu/ Captain Ronda's strengths include her intrepid, bold personality, ability to lead her crew and delegate tasks clearly and effectively. Her main weakness is her peg leg, so she isn't as fast, but she's still strong and purposeful, and excels in close combat. I found Ronda's story writer Priyanka on Instagram, where she goes by "Perifene Rose". I was drawn in by her dark, powerful language and was shocked to find out she was just a teenager. https://www.instagram.com/p/CF8-4DiFl_w/ Priyanka's story for Ronda was exactly what I didn't even realize we needed. I helped out with editing the story but I did my best to keep the integrity of Priyanka's writing. I was just floored by her strong language—not profane, just very striking, bold words. As usual I will include an excerpt of the story at the end of the episode. Ronda's role as captain is just as important as her role as a mother figure to her crew, especially the younger ones. Her team is comprised entirely of her adopted daughters, women whose ages range from 18 to 35. They all have been taken in by Ronda, some rescued from horrendous slave trade. Others were orphans and were in the right place at the right time when Ronda found them. It was important to me to include characters who embraced their wild and adventurous side, while still being loving and nurturing. It can be easy to create female characters that take on typically male characteristics, implying that feminine traits such as softness and flexibility as not as valued. But I really tried to make all of these elderly female characters well-rounded in as many ways as possible. Here is Ronda's illustrator Fanny introducing herself, talking about her career as an artist and her experience being part of the Wise Not Withered project! "Well hi, I'm Diana Estefanía Sanchez, but you can find me on social media as Fanny Sanchez Art. And I'm from Monterrey, Mexico. I start to draw since I was five years old. I always carried a notebook and colors in my bag. I really, really liked to draw Yu-Gi-Oh! cards, Sailor Moon stuff, and other animes. But I start to take it seriously, I think, in high school. Because I studied things related with drawing since junior high school, like technique... I don't know how to translate it. And finally, my career as a graphic designer and animator. Now I can say I'm a digital artist, and I work in an animation studio, making illustrations, creating characters, making motion graphics, and graphic design. For me it's very important to do the best work I could. For Ronda, I made a lot of investigation, searching the clothes, poses, and women her age, because I had no experience designing characters like pirates, or older women. But when I had all these references, I could start making the full body first, then expressions and poses, and finally the illustration with a background. For this final illustration I chose that scene because I thought that she shows all her personality when she was sailing the ship. Well, the brand looks so cool and interesting for me, because I have never worked on a project like this before, with other female artists of different countries. Also I really love the idea of expanding the representation in media of the elderly woman! And I hope when I reach that age, I still have the possibility of working in the creative world, still making characters, or book illustrations, or paintings. And finally, my message for other female artists is that if you do this for a career, it will be difficult. But it is worth it, if it is really your dream. And remember, the continuous practice and learning from your mistakes is very important to becoming a better artist." And now as usual, I will end the episode with an excerpt from Pirate Captain Ronda's dark, epic story, written by Priyanka with edits by yours truly. "On the surface of the forebodingly calm sea, a three-mast ship—the Crimson Maiden—cut through the dark misty waters of the Jaladri Gulf. Soon the entire ship was drowned in murky fog, ominous clouds hanging in the sky above, obscuring the last rays of sunlight. Captain Ronda stood tall on the wooden deck, her rough hands tightening around her sword's hilt. She took a deep breath, inhaling the musky smell of damp wood mixed with the salty air. A chilly gust of wind rifled through her bones, insinuating that a wicked storm was on its way. But that was far from Ronda's concerns: her gaze scanned the gloomy waters before her that she knew housed the most malicious of beasts. She understood that a shortcut through these dark waters could be dangerous, but desperate times called for desperate measures, and her crew's supplies were running low. On either side of Captain Ronda stood Carmen and Jaaga, the eldest and most experienced of her crew, both in their mid-thirties. The women's sharp eyes gazed intently through the thick fog, their breaths coming out short, anticipating the impending doom. They each carried a weapon at their sides, Carmen with a scythe and Jaaga with a lance. The ship rocked suddenly, and Ronda's focused eyes shifted to where Caspia and Cordelia stood toward the front of the ship. The two of them, in their late twenties, had been around long enough to know how Ronda handled intense conflict, but these particular waters were brand new to them. Their gazes swept from side to side, analyzing their surroundings which did not look so promising. With a single, sharp, swift gesture from Ronda, Caspia and Cordelia left their positions with soft steps toward the deck, where Daria and Hama stood ready with four cannons. Although just in their mid-twenties, Daria and Hama could handle the cannons almost as well as Ronda herself. At the wheel of the ship was Maris, the youngest of the crew. Ronda trusted her keen sense of direction and ability to read the stars. A flash of lightning tore through the vast black sky, and instantly thunder boomed overhead. The Crimson Maiden began to sway with a sudden surge of waves, and at that moment a giant serpent—the living death of the sea—reared its head above the water, letting out an ear-piercing roar. Globs of festering saliva spewed from its mouth before it dove across the deck and back into the sea, beginning to coil itself around the ship like a restless predator closing in on its prey. A part of the ship cracked and splintered with the pressure. 'Keep up the speed, Maris! Do not slow down at any cost!' Ronda yelled toward the young Maris, who gripped the wheel tightly, struggling to keep with the waves. 'Caspia and Cordelia, stand on either side of Maris! Jaaga! Carmen! Attack its tail! Do not hold back!' Ronda shouted with zeal and confidence, as it was not her first time fighting these wretched sea snakes. She knew their weakness and she was waiting for the perfect opening. 'Hama! Daria! Ready the cannons! Aim at its face when it resurfaces! Wait for my signal!' Jaaga and Carmen slashed at the serpent's flesh, steadily ripping layers of its thick, coarse skin, preventing it from tightening further around their ship. The beast's tail flung out of the water and smashed right into Caspia—adrenaline surged through her body as she cried out from the shocking impact. Not a second later Cordelia drew her dagger and screamed as she stabbed the serpent's tail before it retreated back into the water. Maris kept her hands steady on the wheel while Caspia and Cordelia locked their arms around her and each other. Ronda sneered as she knew it wouldn't be long before she would stare death straight in the eyes. It had been a while since she had slain living flesh like this, and the image of scarlet in these black waters fired her up. The beast began to hiss, stirring up the water even more, vibrating against the ship, rumbling through the entire crew's skin and bones. Ronda prepared herself, knowing that it was all-or-nothing. One chance is all Ronda would have to claim victory; losing would mean only one thing, and she was not planning for death anytime soon. Right on cue, the monster surfaced at the side of the ship, hissing with fury, its beady eyes filled with rage—and locked right onto Ronda. As soon as it opened its jaws, the captain bellowed: 'FIRE!' Daria tightly gripped and aimed the first cannon with a steady hand, while covering an ear with the other. Hama drew the string and blasted the cannon right at the serpent's face. Working together they swiftly fired one cannon after the other. The cannonballs smashed into the monster's jaws, fragments of teeth and slimy skin raining down on the crew. The explosions left billows of smoke in the sky above them, and though the beast had been stunned momentarily, it suddenly screeched and rushed forward. Ronda dodged the serpent's bite, prancing like a tiger, her peg leg supporting her sideways lunge. She swiftly stabbed the beast's neck, and Carmen and Jaaga quickly followed suit, faithfully protecting their captain with their lives, pinning the monster down. Ronda ripped her sword out of the monster's neck and dealt the final blow, driving her sharp blade right into the beast's eye. The serpent shrieked in agony, unraveling its coiled tail around the ship, wildly thrashing about. The scythe and spear that had pinned it down were flung overboard as the serpent withdrew back to the depths of the black sea. The dark clouds parted and blue sky was revealed once again, as the serpent itself had brought the storm, which it now took deep into the sea with it." That's it for this week! Hope you enjoyed learning a bit about Ronda, the pirate captain! Stay tuned for the next showcases of the Wise Not Withered characters.

Originally broadcast on 28-12-20, Losin’ It With Luscious # 32 is bratty, puerile, mature, thoughtful, nihilistic, subtle, unhinged, opinionated commentary and music thrown at the listener like so much rotten, yet strange fruit. From new unknown talents to punk rock royalty, this episode is no exception!This week features a holiday duet by Vic Ruggiero & Laura Napier, new music from Hard Skin, Yee Loi, Fingernails, Gulag Beach, Pitch Black Process, Sleeps, Kunts, Globs, Mark Murphy  & the Meds, and faves from years past!Vic Ruggiero and Lauren Napier- Baby It's COVID OutsideMischief Brew- O, Pennsyltucky!Yee Loi- Danny SaysYoung Canadians- Well, Well, WellGulag Beach- CopoccupationSimpletones- I Have a DatePitch Black Process- Heroes of 2020Gang Green- AlcoholKunts- Boris Johnson is a Sausage Roll (SFW Edit)Dwarves- Free CocaineDwarves- She's DeadN.O.T.A.- MoscowNegazione- MaschereCorrupted Morals- Be All You Can BeZygote- MotionGrosero- Aumento CerebralFingernails- Hard Stones AriseZeke- Mystery TrainMidnight Evils- RD-100Kohti Tuhoa- Mis Se MeksaaThought Riot- A Song In Response To…Pleasure Venom- DethNaked Raygun- Only In AmericaSleeps- BVTVBulimia Banquet- Loadhead DestructorGlobs- The Weird and Wonderful World of The GlobsCity Mouse- GuardiansMark Murphy and the Meds- Alone Again NorCyanide Pills- Black LightningGargoyles- Ride Into Your MindLewd- I'm Not PrettyHard Skin- Here Come The LadsEvil Conduct- Skinhead Til I DieOld Firm Casuals- Army of OneBlack Flag- Annihilate This WeekG.L.O.S.S.- Targets of MenLife's Blood- Guilty As ChargedFrisco- Shot DownSnuff- Big ShotMean Jeans- Coors Light

Originally broadcast on 23-11-20, Losin’ It With Luscious # 28 is bratty, puerile, mature, thoughtful, nihilistic, subtle, unhinged, opinionated commentary and music thrown at the listener like so much rotten, yet strange fruit. From new unknown talents to punk rock royalty, this episode is no exception!This features a celebration of Pat Wright, new music from Soul Glo, The Shrinkwrap Killers, The Globs, Dead Panda, Barrakuda McMurder, The Battery Farm, and Jeff Rosenstock, plus faves from years past! Shrinkwrap Killers- It's Not A Dead Body Inside This BagZolar X- TimelessThought Riot- I Voted for NaderDance For Destruction- The Witching HourGeneration X- Ready Steady GoRevolvers- No Clash ReunionClash- Janie JonesCapitol Punishment- Capitol PunishmentIowaska- AyahuascaDead Panda- Spit CitySoul Glo- 29Deadspot- AddictionBored To Death- Hate You MoreZero Boys- Human BodyLa Plebe- No NoScrapy- Skinhead, Boots and ReggaeLos Fastidios- Reggae RebelsCitizen Fish- Dividing LinesRezillos- Flying Saucer AttackToxic Reasons- Noise BoysMinutemen- History Lesson Part 2Minutemen- This Ain't No PicnicDeseos Primitivos- Triste CanciónSelf-Inflicted Wounds- The HostagesCity Mouse- Grave 13Barrakuda McMurder- The Thorns of LifeMean Jeans- Pop RocksShort Attention- On The ListShort Attention- I'm a Pop Crunk GirlShort Attention- Cell PhoneKenny and the Car Parks- Top SpeedMC Five- Teenage LustSonics- You Can't Judge A Book By The CoverFigures Of Light- Gimme Gimme GimmeBlack Flag- Gimmie Gimmie GimmieOne Man Army- Stuck In The AvenuesBattery Farm- Excellent Public SpeakerBulimia Banquet- Curse MeJeff Rosenstock- ScramInfluents- Simple GirlGlobs- Rebel Girl

PLAYLIST 11/5/20 The Proton Packs – “Hand of a Robot” – ‘Continuum' The Manges – “Vietnam Addio” – ‘Punk Rock Addio' The Hybrids – “Stupid Fucking Kid” – ‘When it's All Said and Done' Wicked Bears – “Cameron” – ‘Tuning Out' Eaten by Snakes – “Doom” – ‘Calming Pink' Pavid Vermin – “Electric Blue Carpet” – ‘The Beach Boys Never Surfed' Tired Radio – “Making Plans” – ‘Patterns' Accidente – “Demonio” - ‘Canibal' Hellebores – “Textas and Pens” – ‘Hellemenopee' Strangelight – “Digressions from Sierra Leone” – ‘Adult Themes' Self-Cut Bangs – “Dying is an Art” – st Foxycontin – “Headlines” - ‘This Time You're on Your Own' Black Tie Revue – “Red Everywhere” – ‘Code Fun' Stiff Richards – “Point of You” – ‘State of Mind' Vaccuum – “Wrapped in Plastic” – single Turnstiles – “Same Old Stories” – single The Globs – “The Tugboat Captian” – ‘The Weird and Wonderful World of The Globs' PUP – “Floodgates” – ‘This Place Sucks Ass' So-Cho Pistons – “No” – ‘Knuckleheads' Nite Sobs – “Back on The Ride” – ‘Do The Sob!' Big School – “Doubts” – ‘Mint' The Hard-Ons – “Better by The Hour” – ‘So I Could Have Them Destroyed' Lone Wolf – “After Dark” – split w/ Parasites The Real Sickies – “I'm an Isolator” – ‘Quarantined' Dorkatron – “Pills” – split w/ 7 Years Bad Luck Hot Knife – “Space Weapons” – ‘Dread' The Colvins – “Last Ride Home” – ‘Last Ride Home' Avem – “Across The Water” – split w/ Cobra and The Daggers

A Magical Ruse! A Fleeting Romance! A Family Gift Shop! Augie and Griffson find themselves in an over-sized pot of theatrical hot water with The Globs, and a promised meeting with an expository ancestor answers some of the answers Augie’s been hoping to...answer? Transcripts here and at vanishingpod.com, where you can also find bios, more info, and links to our social media.   CONTENT NOTES This episode contains adult language, sexual innuendo, and references to antisemitism. There are references to the rise of Hitler, including the use of newsreel footage over the first 20 seconds of the episode. Please see our FAQ section on our website for a statement about the purpose of our use of this historical time and place.    CREDITS Written and Directed by Ian Geers and Lauren Grace Thompson. Produced and edited by Lauren Grace Thompson. Sound engineered and designed by Daniel Etti-Williams. Original music by Baldemar.   CAST Augie Eckhart - Sarah Price  Conrad Webley Griffson - Daniel Millhouse Bernadette Glob - Corrbette Pasko Tabitha Glob - Maeve Devitt Picquart Jr. - Rob Kauzlaric Rudyard T. Codswallop - Sam Hubbard Narrator - Lauren Grace Thompson The Vanishing Act was recorded at Redtwist Theatre in Chicago, IL. 

The Weather Boys are back and Johnny has more vapor-wave to talk about like the new George Clanton and Nick Hexum collaboration. Rick gushes about The Globs. And visitor Liz Jones (Penny) suggests the wobbly vocal stylings of ゲタゲタ (Geta Geta).George Clanton & Nick Hexumhttps://georgeclanton.bandcamp.com/album/george-clanton-nick-hexumThe Globshttps://globsfromoutterspace.bandcamp.com/album/the-weird-and-wonderful-world-of-the-globsゲタゲタ aka Geta Getahttps://drugonslayer.bandcamp.com/album/ep-7-songs-hellPennyhttps://letspretendrecords1.bandcamp.com/album/penny-lp

John Serpico of ImprovBoston and True Tales of the Illuminati joins us to talk about one of his childhood faves: The Last Starfighter!Image Description: A space car that is actually not modeled after the car from Back to the Future (because that wouldn't come out for another year!) has just pulled up in the night time next to a neon sign for a trailer court. Here's John's hazy summary:"The movie revolves around a young man (let's call him Lance) who obsessively played a video game (called The Last Starfighter, I think) in his small town. I think he lived in an RV park, and everything in that RV park had this deeply 80s brown to it. If I remember right, it kind of looked like Zefram Cochrane's compound from Star Trek First Contact. So he played this game a ton, eventually beat it, and was then immediately recruited by a space military to pilot an experimental fighter in their war against some faceless enemy with a weird name like The Globs or The Zoms or something. I am deliberately not going to Wikipedia. It turns out that the video game was secretly a recruiting tool for this space military, and Lance is the best in... the UNIVERSE! So off he goes into space. On Earth, the space military replaces Lance with a robot so that his girlfriend and family don't know he's gone. Why the space military would send a robot instead of just having the guy write a note saying "A friend of mine in another state needs me and I'll be back in two weeks" I'll never know. Probably for the laughs. Anyway, the guy trains on how to fly the real fighter and his mentor is a dude that looks like The Thing from Fantastic Four. Eventually, it's time for the battle with The Blorps and eventually the guy has to hit a big red button and execute a maneuver called "The Death Blossom," which makes his fighter spin around like a gyroscope and shoot lasers wildly in every direction. Apparently you needed to search the galaxy for a person capable of deftly hitting a red button. Galaxy is saved, Lance goes home. Robot Lance... does... something? Starts a detective agency? Turns into a robot dog? Nods knowingly and fades away like a Jedi? Something like that. But yeah, The Last Starfighter."Was he right? Sort of! We dive deep in this one, which turns out to be a rollercoaster of shifting opinions and film tones! This was a pioneer of CGI! Annnnnd like most pioneers of tech, it looks really dated 35 years after the fact. John says the movie doesn't really make sense, and hated it upon rewatching, but Julia and Geoffrey talk him around into … not hating it? Maybe? Many of the lessons are surprisingly wholesome! Like:1) You can play video games and still be a well-adjusted non-dork!2) You can work really hard and then end up going off to have epic adventures and saving the earth, and your whole community could actually be supportive of this plan and even want you to be happy!3) If you are a woman, maybe it is okay sometimes to not be forced into a caretaker role forever, and instead have some adventures of your own in space! 4) Younger siblings who see their older siblings' decapitated heads will be totally fine and not traumatized by it! (okay, maybe that last one is a stretch…)If you're having fun listening to us, please tell your friends about us! Subscribe to our newsletter at thisiswhywerelikethis.substack.com for free, or pay $5/month to get access to two bonus paid episodes each month! We're also on Patreon if that's your jam! Rate and review us! follow us on Twitter where we're @thisiswhy_pod! And, of course, you can always drop us a note at at thisiswhywerelikethis@gmail.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit thisiswhywerelikethis.substack.com/subscribe

John Serpico of ImprovBoston and True Tales of the Illuminati joins us to talk about one of his childhood faves: The Last Starfighter!Image Description: A space car that is actually not modeled after the car from Back to the Future (because that wouldn’t come out for another year!) has just pulled up in the night time next to a neon sign for a trailer court. Here’s John’s hazy summary:"The movie revolves around a young man (let's call him Lance) who obsessively played a video game (called The Last Starfighter, I think) in his small town. I think he lived in an RV park, and everything in that RV park had this deeply 80s brown to it. If I remember right, it kind of looked like Zefram Cochrane's compound from Star Trek First Contact. So he played this game a ton, eventually beat it, and was then immediately recruited by a space military to pilot an experimental fighter in their war against some faceless enemy with a weird name like The Globs or The Zoms or something. I am deliberately not going to Wikipedia. It turns out that the video game was secretly a recruiting tool for this space military, and Lance is the best in... the UNIVERSE! So off he goes into space. On Earth, the space military replaces Lance with a robot so that his girlfriend and family don't know he's gone. Why the space military would send a robot instead of just having the guy write a note saying "A friend of mine in another state needs me and I'll be back in two weeks" I'll never know. Probably for the laughs. Anyway, the guy trains on how to fly the real fighter and his mentor is a dude that looks like The Thing from Fantastic Four. Eventually, it's time for the battle with The Blorps and eventually the guy has to hit a big red button and execute a maneuver called "The Death Blossom," which makes his fighter spin around like a gyroscope and shoot lasers wildly in every direction. Apparently you needed to search the galaxy for a person capable of deftly hitting a red button. Galaxy is saved, Lance goes home. Robot Lance... does... something? Starts a detective agency? Turns into a robot dog? Nods knowingly and fades away like a Jedi? Something like that. But yeah, The Last Starfighter."Was he right? Sort of! We dive deep in this one, which turns out to be a rollercoaster of shifting opinions and film tones! This was a pioneer of CGI! Annnnnd like most pioneers of tech, it looks really dated 35 years after the fact. John says the movie doesn’t really make sense, and hated it upon rewatching, but Julia and Geoffrey talk him around into … not hating it? Maybe? Many of the lessons are surprisingly wholesome! Like:1) You can play video games and still be a well-adjusted non-dork!2) You can work really hard and then end up going off to have epic adventures and saving the earth, and your whole community could actually be supportive of this plan and even want you to be happy!3) If you are a woman, maybe it is okay sometimes to not be forced into a caretaker role forever, and instead have some adventures of your own in space! 4) Younger siblings who see their older siblings’ decapitated heads will be totally fine and not traumatized by it! (okay, maybe that last one is a stretch…)If you’re having fun listening to us, please tell your friends about us! Subscribe to our newsletter at thisiswhywerelikethis.substack.com for free, or pay $5/month to get access to two bonus paid episodes each month! We’re also on Patreon if that’s your jam! Rate and review us! follow us on Twitter where we’re @thisiswhy_pod! And, of course, you can always drop us a note at at thisiswhywerelikethis@gmail.com. This is a public episode. Get access to private episodes at thisiswhywerelikethis.substack.com/subscribe

Heute geht es um Scham im Supermarkt, die letzten Momente vor unserer Hinrichtung, unsere Doppelgänger und Alienentführungen. Was Miami Yacine damit zu tun hat, erfahrt ihr in der Folge. Viel Spaß!Folgt uns! www.instagram.com/stupidfruitypodcast www.twitter.com/stupidfruitypod

Please join Kendra and Ken in celebrating the 2010s. They’re gone but only the first half of the decade is forgotten. Ken rants and then Kendra raves...about her fav shows from the last 10 years. She reiterates Fleabag’s greatness but also brings up faves The 100 and The Leftovers. She also laments the early canceling or Sweet/Vicious, an MTV show ahead of its time in rightfully hating men. Ken does his part to be hateable by revealing that his best-of-the-decade movie list is made up of 15 flicks and 10 more as an honorable mention. His top two aren’t surprising but neither are the rest of his picks, don’t you worry. We’re excited to move into 2020, even with all the problems in the world. As Brad Pitt said at the Globs (sic) last night, “if you see a chance to be kind to someone tomorrow, take it...I think we need it.” We agree! Hi Peri! We wish you happiest New Year! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/kendraken/support

The London 2019 marathon has a great idea! Water bottles are getting replaced by seaweed water globs. Genius!

Chris and Chris have been busy globetrotting this month and episode 10 follows their lead, discussing how you keep things running ‘tickety-boo’ as part of a globally distributed team. Even the beer itself took a journey from a far located land, and apparently has the taste of Heather Eel!! So, grab yourself a beer and tune in - cheers!

Dan, Dave, and Geoff are here as a mystery sewage smell invades Dan's fridge. None of us can figure out where it is coming from.The trailer for The Russian 5 movie is out!! It looks outstanding. We go over the importance of those Red Wings teams to the formative years of our sports fandom! You would not be listening to this show if not for those five, wonderful Ruskies! The trailer for "Goalie" was also released and looks equally as awesome. Terry Sawchuck died in the dumbest way imaginable and nobody remembers. Chris Osgood is a Hall of Famer. STOP IT!You can hunt Big Foot with Jose Canseco!The Freep writing staff tells us who each of them thinks will be the next pro, Detroit sports team to win a title will be. Guess who gave the dumbest answer. Hint: It wasn't Carlos?!Glob is a really gross word.And British dudes have got to learn how to watch out for and take better care of their penises. Third story in one month. It's an epidemic. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 3: Send Me A Fiver And I'll Goose Your Granny/Globs Of Cellophane Haunt The Burger Van/Poem Dictated By An Albino With Bleeding Eyeballs Under Ultraviolet Light Chapters four, five and six. We learn about spitting soggy paper, we meet Rachel (ahhhhh), real life Operation, Ralf the Vampire and some interesting methods of paying your electricity bill. Want to get in touch? Email us on queasy@automaticbiography.com Sound effects by: https://freesound.org/s/321971/ https://freesound.org/s/25821/ Armillaria Music at beginning by: http://freemusicarchive.org/music/InSpectr/

Hey guys! We had Mike B, Janine and Jessica all in studio with us this week. Started out with Mike B and Jess in the hot seats for the first half of the show and then tagged Janine in so that Jessica could get home and get some sleep. We recorded this after the amazing Blue Christmas event so we were all a little tired but we had some fun. Hope you enjoy! Remember to download, rate, review, and share us! 

Michelle discusses her dream with Anthony about having two purple globs following her around and wanting to get a delicious egg sandwich. Follow Ant's podcast, What's Your Fortune?// https://itunes.apple.com/us/podcast/whats-your-fortune/id1242567820?mt=2Follow IYD:// Twitter & IG: @ IYDreamsPod// To Be a Guest: michruby.com/inyourdreams// In Your Dreams on Google Play

There are some piles of yellow goo in the bunker, which made us think of the golden globe awards. Join us as we discuss who won, who should have won, the Monthly Quota, and more!  

In this episode, we have the privilege of welcoming the incredibly talented and undeniably charming Autumn La Barbera! She talks to us about her history in the cosplay world, her influences, future plans and conventions and she EXCLUSIVELY shares her Comikaze 2016/Stan Lee's LA Comic Con cosplay line-up with us. Also, she discusses her dream costumes, signature cosplay features, GRILLED CHEESE, her love for Spider-Man, Nintendo, Rick & Morty and GLOBS more! She's SUCH a genuine person and a burst of POSITIVE energy. All of this, a few tangents, and MUCH more on your favorite, EPIC podcast! Follow us on: iTunes: Epic Briefs Podcast www.facebook.com/epicbriefspodcast www.instagram.com/epicbriefspodcast Twitter@epicbriefspdcst Thank you for all of your support and be sure to tune in for something EPIC! Cover Photo by Instaxhype

The guys enjoy a beer that’s exactly what the name says it is while pondering whether or not they’d take a one-way trip to Mars. Plus, they offer some fresh...

Episode 26 is here! And it's filled with GLOBS of Kryptonian, Caped Crusading, Body Altering, Intergalactic GOODNESS! Be sure to come see us at the Burnt Hickory Brewery's 3rd Open House on April 25th from 12 PM to 5 PM in Kennesaw, GA. Also, don't forget to follow the awesome Ashley Hughes on Twitter @PixiePinder if you'd like to discuss some comic book and sci-fi TV shows. All of this and, of course, MORE on the latest episode of your favorite EPIC podcast! =) As always... Feel free to drop by our Facebook page at www.Facebook.com/epicbriefspodcast and give us a "Like". Leave us any comments, questions, and suggestions you may have. Share our episodes and content with all of your fellow nerds and non-nerds. Also, follow us on Instagram at www.Instagram.com/epicbriefspodcast and on Twitter @Epicbriefspdcst We're also on iTunes! Just search for Epic Briefs Podcast in the iTunes store. Thank you for all of your support and be sure to tune in for something EPIC!

Pues nos ha quedado un episodio resultón con todo el cine que hemos visto, las nominaciones a los Globs de Oro y donde debatimos sobre el polémico cierre de páginas de descargas a raíz de que el 1 de enero entra en vigor la Reforma de la Ley de Propiedad Intelectual.Un episodio completo que dará paso a un pequeño parón navideño el cual aprovecharemos para ver más cine y series y comenzar el año nuevo con las pilas cargadas.Aprovechamos para desearos a todos una Feliz Navidad y un Feliz 2015 con mucho más cine si podemos :)[ Episodio 00168: cine, nominaciones varias y otras polémicas ]www.00podcast.es | @00podcast | Facebook 00podcastwww.00podcast.es

Luke finds "Gamergate" and "All About That Bassgate" and every other "Gate" exhausting. Andrew is just trying to figure out if he's nauseous or nauseated.

GUEST: JACKIE KASHIAN, Great Text, Party Time At Gregs, Cornhole Champs, Sharknado, Jackie Kashian, Dork Forest, Erotic Fan Fiction, World Of Crazy, Globs, Science Facts, Leaves, Electric Fences, Sharknados, Sharky Poem

This week we review... Zhu Zhu Pets Mass Effect 3 Spongebob Squarepants and the Globs of Doom I Spy Plus the top 20 games of the week and the press junket.

This week we review... Zhu Zhu Pets Mass Effect 3 Spongebob Squarepants and the Globs of Doom I Spy Plus the top 20 games of the week and the press junket.

Discuss this episode in the Muse community Follow @MuseAppHQ on Twitter Show notes 00:00:00 - Speaker 1: Infinite canvases are essentially like a different document format. The screen represents a camera that’s floating above a surface, and there are things on that surface, and those things can be anything. You can move them, you can duplicate them or resize them, and that each one of these types of thing on the canvas also has its own rules about how it can be changed. 00:00:26 - Speaker 2: Hello and welcome to Meta Muse. Us as a tool for deep work on iPad and Mac, but this podcast isn’t about muse product, it’s about the small team and the big ideas behind it. I’m Adam Wiggins here with my colleague Mark McCrannigan. Hey, Adam. And our guest today is Steve Ruiz of TL Draw. Hello. And Steve, I understand you’re a little bit ahead of me on the fatherhood journey. You’ve got a 315 year old. What do I have to look forward to in the coming couple of years? 00:00:55 - Speaker 1: Oh man, a kid is what, like 1.5? 00:00:58 - Speaker 2: That’s right. 00:00:59 - Speaker 1: Eventually they will start drawing, they’ll start playing with words, and they will grow ever more interested in iPads, and also, everything will be an iPad, every computer, every device, everything with the screen will be an iPad. That’s my prediction, yep. 00:01:17 - Speaker 2: Yeah, that makes sense. Yeah, already is the case that trying to keep screen time limited is a challenge. Now, of course, we can also look forward to having built in beta testers for our software. You got a chance to do that yet? 00:01:29 - Speaker 1: Yeah, actually, my daughter has probably spent more time with tealra than anyone else, and I’ve learned quite a lot by watching her kind of poke around and try and draw, try and make different things. She really likes arrows, but the touch targets are too small and mobile. That’s one thing that I need to work on. 00:01:46 - Speaker 2: I’m reminded of a scene in one of these Steve Jobs biography movies where I believe it’s his daughter comes in and tries out Mac Paint, and they sort of show this maybe hypothetical idea that he was sort of inspired to make software and a computer generally that was easy enough that a young person could be creative with it. 00:02:04 - Speaker 1: Yeah, I mean, if you have, uh, they’re kind of hard to schedule or bring into the office. I don’t think the agencies do 3 year olds, but toddlers are excellent beta testers. They won’t tell you what’s wrong, but you’ll definitely see it. 00:02:19 - Speaker 2: So you’re working on TLDraw. Tell us about that project and your background that brought you there. 00:02:24 - Speaker 1: Yeah, so Tal Draw it started out as like an open source project, I guess it still is an open source project. It grew out of kind of earlier open source work that I did with a library called Perfect Freehand, which is an algorithm for creating like digital ink, so pressure sensitive or variable width lines, takes a whole bunch of input points, and comes up with a whole bunch of output points that kind of describe a shape that surrounds the input points. So, perfect freehand, I kind of started working on it pretty publicly on Twitter. So posting all these in progress GIFs and talking about the different ways that I was trying to solve this problem of doing pressure sensitive slash variable width lines. You can’t really do that in the browser, like it doesn’t have any primitives for like lines that change their width. So, hence the whole like journey into trying to figure out how to do that kind of programmatically myself. It works, it works super good. I would recommend it if you have anything to do with the browser that needs to have a kind of a cool ink. And it’s being used all over the place. It’s used in Draw.io, it’s used in Excali Draw, it’s used on, I think NextGS Live uses it in their product. It was one of these situations where The status quo for like a pencil tool or a pen tool was like so poor on the internet or on the browser especially. That any improvement sort of would have been well timed and perfect freehand just happens to be an improvement that is pretty good. You should use it. That’s what I say. So, I’d been working on perfect freehand, I’d been doing some integrations with like other diagramming tools like cala Draw and I guess in along the way of making perfect freehand, I built a couple of these. Canvas playgrounds almost, places where I could test this thing out or try out the different algorithms, see where it was going right or wrong. And I’ve done that a couple of times for Perfect Freehand, also for like a kind of an offshoot of this project called Globs. But anyway, I just made enough of these sort of infinite canvas editors that once Perfect Freehand was pretty much done, I started working on that kind of a framework. Originally it was gonna be like a programmable design tool that I could use both together with direct manipulation, but also with like, you know, programming, in order to help me figure out problems like perfect forehand or problems like cool arrows or something. And once I started posting that, On Twitter, saying like, oh cool, I’m looking, I’m kind of making almost like a figma that you can program, or a figma that you can put anything on the canvas that you want, and I’m doing it in React. That story suddenly got pretty popular. Like I had folks reaching out to me and saying like, hey, we’re building something that kind of needs this kind of canvas. Can you open source this or can you share this or can I hire you? So based on that attention, I was like, all right, well, maybe this is worth proceeding with. I took some time off between jobs. I was gonna start a job actually at Adobe, and I thought, OK, I’ll take some time off in between and I’m just gonna work on this project, make it open source, spend 6 months on it, and then, yeah, see what happens. Worst case scenario is that I’ve made something really cool open source, worked on something interesting in this space, and I should say there’s really very, very few open source kind of canvas UI type of tools out there. And none of them that were using this kind of react driven canvas. 00:06:04 - Speaker 2: It’s interesting that you got that initial demand, you might say a product manager lingo might be it’s sort of market validation, you know, don’t build it until you already know people want it. Even before you got into the project itself, did you have a sense of why people wanted it or had they tried to build it themselves and discovered it was hard? Had they not built it and they just hoped someone else would do it for them? It just they liked your other work and they just thought if you did a good job on this other library, maybe you do a good job on this library too. What was the core of their demand, I guess. 00:06:36 - Speaker 1: Yeah, my theory about this or my guess about this is that this was 2021, so not too long ago, 18 months ago maybe. We were still middle of the pandemic, seemed like everyone had started using these apps like Miro or Mural or I think Fig Jam had just been released and The place for online collaboration was starting to just be the sort of the whiteboard, you know, abstractly like this 2D kind of surface that you could move around on and interact with people and co-create this type of surface. And the tools in that space were pretty mature, like again mural fig jam was new, but it was already, you know, built on good bones of FIMA itself. And so, As normally happens with like successful general products, like you start seeing different teams wanna carve off verticals for that, say, like, OK, cool, Mirro is great. Mirro is for everyone, Miro is for everything. What if it was just Mirro for project managers? What would that look like? Can we steal a billion dollars off of Canva? Can we, you know, take a little bit of that giant market from FIMA or something? The issue there is that all of these tools, pretty much anything. That wants to use that kind of canvas UI, it’s a tough engineering problem. And there’s like a ton of uh functionality maybe of like a canvas like that that is like, it’s almost like a text editor that it just has to be there in order for it to feel complete. And if it’s not complete, it’ll feel broken. But if it is complete, if it has those like table sticks features and all that, then congratulations, no one will notice because they expected them to be there from the beginning. And maybe you ran into some of this with Muse as well like. Selection should just work, like Undo reader should just work, the cloud stuff should just work. And some like really gnarly, like logic puzzles involved in these type of things that we take for granted in something like Mirro or fig jam. Yeah, like they’re they’re just gnarly problems. Never mind the whole like, how do I render this thing. So when I started saying like, look, this is something that you can use as like a starting point, where all those problems are gonna be solved. Now it’s just about picking like, what do you want to put on the canvas, how do you want these things to interact with each other. I think that story of giving someone like good open source starting place, that was like the compelling story. It’s just like the same with maybe like prose mirror or a code mirror. Text editors are super hard, no one wants to build one themselves. I mean, I don’t want to build a text editor myself ever. But I do want to make apps that include them, and I do want to do stuff with them, and if I can do that on open source work, then all the better. So, I think that’s where the validation started clicking in, or like pre-validation. I didn’t have an idea really, but I did notice that there was a demand for this kind of thing, because, yeah, it was becoming more of like what software looks like, especially around collaboration, like it looks like a canvas. 00:09:30 - Speaker 2: Fun little parallel story there from the Hiroki days, which is a very early version of Hiroki that was mid-2000s, 2007, 2008, had a text editor in it, but yeah, we had to implement that from scratch in the browser and you know, pretty quickly you exactly as you said, all these table stakes things you just expect to work, particularly in programming editors, you know, we had to implement it and that’s not the differentiated or wasn’t the differentiated part of the product at the time. But it wasn’t long after that that the AC editor, I believe it was, was kind of the first really solid open source in the browser code editor, and that seemed to unlock a kind of explosion of people seeing that. I mean, I know GitHub used it in the early days for some of their stuff, but lots of other projects did as well. Suddenly people saw, oh, there’s a really good code editor that covers that table stakes stuff. Now I can build this weird project idea that I had that I haven’t been doing because I don’t want to have to build a whole, you know, fully functional text editor first. That’s just too hard and isn’t the core of the idea. So maybe there’s, if your hypothesis that the canvas is a foundational type of some kind, as you said, how software is just starting to be, then maybe there’s a similar explosion that could be unlocked with the right canvas tool kits. 00:10:52 - Speaker 1: I hope so. I released this thing in November of 2021, so after, I think I started working on it full time in like July, so not too much time. It got pretty popular, the initial usage. 00:11:07 - Speaker 2: You talking about the open source or because I know, I guess I should describe that. 00:11:09 - Speaker 1: While I was developing this, I was posting about it on Twitter a lot. You’re gonna hear me say Twitter a lot, probably during this interview. 00:11:19 - Speaker 2: I think we could have done a build in public episode with you if we already did it with the maker of Canopio Club. Yes, so it’s a similar kind of concept which is showing your work in progress as you go and obviously it’s a very visual domain and yeah, people like that. They like those little bite sized pieces and they like to see the journey. 00:11:39 - Speaker 1: Yeah, I’d started thinking like, this was right when GitHub sponsors had come up, and I guess the media that I was consuming was largely like sponsor driven. Podcasts, YouTube channels, etc. And I was really interested to see if that kind of model could work for programming. Programming does not lend itself well to YouTube streams or videos, even like the educational stuff, I think it can work, but it’s not like a sponsor model that kills, it’s like a course model or something. 00:12:10 - Speaker 2: Yeah, from what I’ve seen that typically people who have programming YouTube channels, then you have an upsell into buy my course, so they put the more basic stuff online, you find it, you watch it, you get to the end and you like the teacher, quote unquote, and then you think, well, I want more, I want the intermediate level stuff, then you go buy their course that’s behind some paywall. 00:12:29 - Speaker 1: Yeah, which is great, and I’ve certainly bought, you know, courses and books as well, and especially if you have an education budget, you know, consider spreading that around, don’t let it go to waste. But I was kind of thinking about the type of content that I could post every day almost, or the or the type of content that required like a very low level of engagement with, like, much lower than by my course, and even like a level of engagement where just clicking like was like the correct. Appreciation for this type of content. You know, I’ve seen folks who are making like really amazing involved educational material, not just in programming, but in other stuff too, and it always feels bad where like all I can do is just click a little heart, you know, it’s like, oh man, like this is worth way more than that, kind of feels awkward. So anyway, I kind of made user content, educational content when I worked at a company called Framer. So that was all very involved as well, very kind of produced. Took a lot of time to make, and I didn’t want to do that anymore. So, the kind of the place where I settled in terms of like the kind of content that I would use to drive interest around Tealro before I had released it, like, while it was under development, was just like these eight second gifts. These gifts that maybe had like, you know, were at 150% speed, didn’t take very long to make at all, and certainly didn’t take very long to consume and just be done with, and, you know, just clicking that little like button was, what more could you do? Like, it was perfect. And so I was posting this a lot as I was working on Tealraw and at the same time, I had made the like TealDraw.com a kind of sponsorware. So the only way to access this was to be a GitHub sponsor. And there really wasn’t any like floor for that. You could give me a $1 and, you know, have full access. It wasn’t even like a $1 a month. It was just like, give me something and you can come in. And that worked pretty well. I got like a couple 100 sponsors, which certainly wasn’t enough for like a tech salary or anything like that. But it did show that people were interested in this and it was like a good thing to come back to as I was developing it. I was also a good motivator for making that content. 00:14:46 - Speaker 2: And to come back to that product manager style validation, here’s the next step. People parting with money any amount, the number doesn’t even matter that much, is just such a hugely higher bar and saying they like it, clicking a like button. Telling you they think it’s cool, even using it. Parting with your hard earned cash is just the ultimate measure of validation. So I don’t know if this was intentional, but it seemed you’re following the product management playbook kind of market discovery in this journey. 00:15:18 - Speaker 1: It was not very intentional. Again, I was kind of just playing with this before going to take a job at Adobe, but, you know, I liked making the content, I liked being able to share this before it was ready and get that like feedback from people. And I liked that those people were a little bit motivated as sponsors, and somehow it just really like ended up in a kind of warm place. It felt like there were a lot of people on Tal Draw’s side as I was making this and like wanted to see it do well and wanted to You know, be a part of that. I spent a lot of time asking folks on Twitter like, how should this feature work, you know, this, here’s how it works in sketch, here’s how it works in FIMA, here’s how it works in Miro. What should happen when you try and resize a group of shapes where one of them is rotated? I don’t know, like, does it skew? Does it smash? Does it lock the access or uh aspect ratio and then resize that way, so. There was a lot of like kind of audience involvement in a sort of a musical sense. And yeah, that carried right into the release in November, where I made everything open source, like overnight. It had previously been closed source. I’ve removed all the kind of the sponsor walls around Tealra.com. And just said, like, there you go, release, you know, there was no product hunt launch. I didn’t post it on hacker news or anything, but other people did. Enough that I had to ask like product I’m like, can you just stop posting these? Like, I would love to do a launch sometime in the future, but I don’t want to do that. And then it was like at the top of Hacker News for a while, like, for like a majority of the day, it started. Getting a ton of attention on GitHub, like in terms of stars and interest from people there. My Discord started exploding. It was, it was like a really interesting week as this thing made its way around the internet. And just as like a free diagramming drawing tool that had I poured a lot of like, I guess, attention into the microinteractions to sort of add up to a canvas tool. Yeah, it was fun, and bunch of cool contributions started coming in, and I was thinking, I don’t know, maybe I don’t go to Adobe, maybe this is like a good Maybe I can make this into a little microsas product for myself. And then what happened was, since it was open source like folks started building with it and I started seeing a lot of interesting projects that started being used or built around Tealra and getting some amazing contributions from people who are kind of using it. And noticing like where it needed to grow and and how it needed to change, and a ton of feature requests and suggestions and will it do this, could you make it do this? Can we contract you to come over and integrate it here or there? And also interest from like investors and other people who are kind of working on similar projects, but there weren’t many. It was a really exciting time. Eventually, the interest was enough. And I had some conversations with, I guess people whose advice I could take that this might have legs, this idea, kind of like this bet that we’re living in a moment where, for better or for worse, there’s a lot more remote collaboration. People want to do interaction or like collaboration through software more and more that needs to happen somewhere. The canvas is probably the place where that’s gonna happen. My bet was these apps, there’s just gonna need to be more of them. It will be impractical for every team that wants to make Miro for project managers or fig jam for doctors who wanna collaborate on annotating images, like, it’ll be impractical for every one of those companies to also build Miro or also build fig jam, which at the moment is sort of, there are no primitives, so, yeah, good luck. Like if you want to do that type of software, like your work cut out for you. If you want to do that kind of software then. Yeah, there’s really nowhere to start except from scratch. So, there’s Tal Draw the startup, that’s just Teal Draw the company Teal Draw Inc and TealDraw GB now also. 00:19:28 - Speaker 2: Well, congratulations, and at the moment is this, the story you told up till that point, it sounded like it was very much a solo effort doing kind of everything yourself, one man show. Is there a team now or is that still to come? 00:19:42 - Speaker 1: Yeah, it was pretty much just me, probably like 99% of the code in the project was just written by me over those couple of months between July and November. I have had amazing contributions from a lot of people on the GitHub repository. And those continue to come in, we have a nice little community growing. But yeah, now I have a team. I’m up to, I just hired my first employee, and I have two other contractors who are taking up different parts of the project. We’re growing it, for sure. 00:20:13 - Speaker 2: Oh, congratulations on your new job as a manager, I guess. 00:20:17 - Speaker 1: Yeah, exactly. I have no experience, but so far so good. 00:20:22 - Speaker 3: So when you open sourced TLDraw, were you at that point specifically positioning it as a platform for making verticalized canvas apps, or was it more open sourcing the app and then people discovered that you can mod it basically and do their own thing? 00:20:41 - Speaker 1: Yeah, so I had picked a kind of a point to chop the app into two, in a way. I was saying, OK, here’s a rendering layer. Here’s a, basically like, put react components on the canvas. I call that the kind of the core layer. And then on top of that, I built a kind of an application that would use that core layer, which implemented things like selection or erasing or different types of shapes. And my guess was that other teams would want to build on that core layer and say, OK, well, you know, Tealro’s cool, but we’re gonna make a different app, so we’re just gonna use the same render, like react Canvas type of render. Um, I was completely wrong. I think there’s maybe one team that ended up doing that. Everyone else just forked Teal Draw. I picked the wrong place to chop, essentially, that what I thought was unique to the app, to TealDraw. Ended up being more general than I thought. And so things like the selection tool where you, you can whatever hold shift and click things and now they’re all selected or draw a box in order to collide things and select them that way. Turns out that’s the same for every canvas and I just gotten it right and followed all the conventions that I saw in other apps who had also reimplemented the same sort of logic and whatever an eraser is an eraser is an eraser like. So the part of the task, once I did decide to keep going on this was to basically start over, like within 6 weeks of releasing, I was like, all right, let’s start over, let’s make this for real. And let’s make that abstraction point that like, where can I chop this? What can I say is general versus what is specific to til draw and move that way up so that it really is, you could get more for free without having to fork it. 00:22:31 - Speaker 3: That’s interesting and that’s super surprising to me. I feel like for these complex problems, it’s basically impossible to design a framework de novo, and people try this all the time, but it very rarely works. Instead, what happens is you have an application that works well, and then basically you copy and paste that 2 or 3 times, and then you look at the discs and the things that aren’t the disks become the framework. And that sounds like it’s basically what you ended up doing with this. 00:22:55 - Speaker 1: Yeah. 00:22:56 - Speaker 2: I think that was a story with rails as well, where there was a bit of they kept writing these kind of crud apps with a model view controller framework, and once they’d done it a few times, it became pretty clear what should be extracted from that and be common to all of them and what would be different. 00:23:12 - Speaker 1: Right. Yeah. Well, even though I did pick the wrong place to chop or the wrong abstraction, it was part of the kind of the DNA of this project from the beginning to be something that other people built on. And so, once it was evident that like folks just were using Tera the component, which I should say that we did distribute the complete app as something you could put inside of any website. So it was like also something that you might like drop into your video chat app, even if you didn’t want to change how it looked or worked, but you just wanted to have it somewhere other than TDraw.com. But yeah, once it became evident that folks wanted to say like, Teal jaw is perfect. We also want to add like a shape that represents a person. You know, and that like looks like an avatar and has like that type of data attached to it. How do we do it? And my only answer was like, smash that fork button and then own this thing forever, because like, I just, it’s not built for that, or start from scratch essentially again, like, maybe not zero, but still very close to it. So yeah, version 2 is much more kind of Anticipates those kind of stories, and I had no idea folks would want to do that, but looking back, I guess, yeah, now it’s obvious. 00:24:30 - Speaker 2: I see that’s where you are today. I’d love to hear a little bit of the backstory there. You mentioned briefly working at Framer, which is a very interesting product. It’s been through a lot of iterations and itself has its own canvas aspect, and I know you’re actually even relatively new to the programming field, so tell us a little bit about the journey that brought you to Teal Draw. 00:24:48 - Speaker 1: Yeah, I guess, you know, it seems like everyone I talked to has a non-traditional story about how they got into this kind of tech field. For me, I studied art. I studied, uh, you know, painting for undergrad and then grad at University of Chicago. So I had a tiny bit of like technical experience building like portfolio websites, but that was pretty much it. It wasn’t until I had turned 30, I was now living in Cambridge in England. Kind of broke, realizing I should probably make some money in my life and have a career that has a little bit more speed to it. So, yeah, I kind of shut down my studio out out near Cambridge and started looking at different ways of using that same creativity and I guess industry, I suppose. So I started out in design, and then I quickly learned about like prototyping as a place where the tiny little seed kernel of technical skills that I had had from all those WordPress sites that I’d in the Bush administration could be brought over and applied. This was also like 2017, the idea of like designer who codes was like, even for someone just crashing into the tech scene like was very evidently like hot and so that essentially became my brand or my story as I came in. I was an extremely active user of Framer’s first product, the Framer, now Classic. So typing out coffee script code and making things spin around when you click at them. And my first couple of jobs here in London were essentially, yeah, like prototyping. Like I was brought in because one way or another, they wanted to be able to build something before they actually brought engineers on to build it. And so this Kind of approach to design and approach to programming of like discovery mode of like, well, we’re not even sure what this needs to be, but let’s start hacking something together. Yeah, that was essentially what I have been doing my whole career and still what I’m doing now. Ended up working for Framer doing their education, which was an interesting break from actually like shipping designs or shipping prototypes and instead trying to figure out. How do I talk to people about this, or how do I show how to do this type of work? And instead, like, how do I present this to other people? How do I communicate, like, what makes a good prototype? How do you go about that and specifically how do you do that with Framer. I wasn’t so good at that job. And so afterwards I went back into design and prototyping for a company called Play who’s making a design tool, another design tool for iOS, which surprisingly like, you wouldn’t think that a design tool fits on a phone or on an iPad, but it does. It’s a pretty cool one to check out if you haven’t. That was a fun opportunity to kind of rethink all of the creative software experience. As a designer, you kind of can’t help but think about the tools that you use because of their software too, and you’re designing software. Play was like an extreme example of being able to rethink features like a layers list or an objects list that haven’t changed since. I don’t know, Adobe Illustrator, and say like, OK, well, how do you do that on the phone? How do you do a properties panel when there’s, you know, the size of an iPhone to work with? That was a blast for me, and it was during that contract when I started doing the open source work around arrows and around a perfect freehand, and then eventually healra too. So, that’s sort of the abridged version of my kind of path from Design and technical design, or increasingly kind of technical aspects of design until now I’m, I guess, not too far away, but they definitely do more programming than design and now managing too, it’s fun. 00:28:49 - Speaker 2: Not to mention it seems like there’s an evolution there from prototypes which are by nature or even by definition throwaway, and then going to something that’s an open source library, other people are building on it, you need API stability. There’s going to be, I mean, so far the project’s pretty new, but you need long term, it’s quite the opposite of that prototyping, so I imagine you’re growing new skills there too as well. 00:29:12 - Speaker 1: Yeah, to be honest, this is also a place where I think the team that I’m building is gonna Do a lot of the heavy lifting because my relationship to software is still very like disposable, kind of like crumple up and and throw in the trash, just do lots and lots and lots of sketches until it resembles what you want. Not to say that Tilra isn’t like solidly built and, you know, we’ve fixed the bugs and it it has good abstractions and solid API and all that. But yeah, definitely there are certain problems that you can’t quite as easily start over with. So, I will be slightly hands off on the on those problems just because different skill set for sure. But the community side of things, I mean, managing not only the open source, like an engineering project, but also as a community project has been really interesting too. That’s probably closer to the work that I was doing at Framer in terms of education and doing a lot of work with the community and a lot of work on Twitter and uh chats and such of kind of unblocking people as they’ve been working with at that time, Framer now and with Tealro turned out to be decent training for those sort of Open source relations manager, open source project, open source maintainer, culture or role. Luckily we haven’t had any drama with Tera, but it’s still a little bit chaotic and fun. 00:30:36 - Speaker 2: So our topic today is infinite canvas or perhaps infinite canvases. So I think we’ve explored this a little bit already in talking about in this new world of kind of, yeah, the whiteboard brought into a digital space and made collaborative and that is increasingly feels like a foundational piece of many pieces of software. So yeah, I’d be curious to, you know, kind of go to the fundamentals here, which is certainly how you Steve or Mark how you define. What is an infinite canvas, and then we should probably also talk about the name, cause that’s an interesting thing. But let’s start with definition. Steve, what do you makes one of these canvases what it is and different from other types of software? 00:31:15 - Speaker 1: Yeah, well, especially on the web, we are used to a kind of a document metaphor that, well, the web is just built for, which is kind of a vertically scrolling infinite page. Infinite canvases are essentially like a different document format. This idea that there are two dimensions or kind of almost 3, you know, you can move left, you can move right, you can move up, down, you can zoom in and out, and that the screen, what you’re looking at kind of represents a camera that’s kind of floating above a surface, and there are things on that surface. And those things can be anything. And in a drawing app, those things might be little lines that you’ve drawn in a visual note taking app or canvas-based note taking app, those would be different notes or different headers or different flags or in a whiteboard, they might include arrows and texts and sticky notes and all that. The actual things on the canvas don’t matter. It’s mostly about Stuff on the canvas that you can view, or if you’re able to, if you have the correct permissions, then you’re able to directly manipulate. You can drag things around, you can move them, you can duplicate them or resize them, and that each one of these types of thing on the canvas also sort of has its own rules about how it can be changed. So maybe it’s a video, maybe the aspect ratio of that video can’t change, even though you can’t change the size. Whereas maybe it’s like a rectangle and you can change that aspect ratio or the sizes. And whatever you wanna call these things on the canvas like shapes or primitives or elements, the thing that you do with an infinite canvas is, you know, to manage these and read them or arrange them or put the canvas into a state where it represents something. So, obviously, again, like whiteboards are pretty clear, like you wanna do a retro and you’re moving sticky notes around, and maybe voting by stamping things. And the important thing also is that, unlike a document where you’re only seeing a very small part of infinitely scrolling page. The canvas works really, really well for collaboration. The idea of having multiple people working on the same surface is pretty natural. You just represent them by their cursor, wherever the cursor is, that’s where they are. Um, you can do things like follow people around. I suppose you could do that on a vertically scrolling page, but it might not be as fun. Yeah, so that’s why I think it’s been picked up so readily by, again, like whiteboarding or diagramming or or places where you need to have more than one person editing the same document. It’s not like something with text where, as I’m editing text at the top of the document, all the other text is being pushed down the document. 00:34:00 - Speaker 2: The elements are relatively independent of each other. Yeah. 00:34:03 - Speaker 1: Yeah, exactly. You know, you can have independent experiences on the same document that are just in different places. And I suppose the idea of place is also a big part of this, and potentially a big part of this. The idea of near and far, of close and distance, or like it quickly drifts into like video game territory of your cursor is your avatar, or maybe you have an avatar and you’re moving that avatar around this top down view of an office or a space and jumping into video calls with people close to you. So yeah, that infinite canvas, that’s kind of a long definition of how I see it. It’s just a found an infinite 2D plane and you are a little camera represented by a cursor. Moving around, moving over that surface. Mark, what do you think? 00:34:52 - Speaker 3: Yeah, I have a pretty similar take. I’ve often called these multimedia canvases, cause I think there are two dimensions going on. So one is the canvasness, which is at least 2, sometimes 3 dimensions and the freedom and flexibility to place content items wherever you want, like you were saying with relative independence. The second axis is multimedia, so Which types of media the digital document accommodates. When you lay it out like this, it’s interesting because this actually captures the whole universe of digital document editors. So for example, a classic plain text editor is at the sort of bottom left of this graph where it’s very limited to one content type and it’s very linear, a spreadsheet in contrast. Has pretty limited content types. It’s basically text and numbers, maybe a little bit of color, but it’s quite high on the canvasness. You have this flexibility and freedom to place things and by the way, as we’ve talked about in this podcast, that’s something people love about spreadsheets. It’s not just a calculator, it’s just a place where you can put stuff, people like that. Then you can go all the way out to the top right where I would put like muse and TL draw where you have a full 2D canvas and it’s highly multimedia. You have handwriting, text, images, videos, links, whatever. Or you could kind of go back down and say we want lots of different media types, but we don’t have the full flexibility. So I would put notion in this category, for example, of you basically have whatever media type you want, and there’s, there’s a little bit of flexibility, but it’s pretty much a linearized document. So in this view, the multimedia canvas is simply the fully generalized final form of a digital document. 00:36:38 - Speaker 1: It’s good to be here at the end, yeah. 00:36:40 - Speaker 3: And all the others are sort of specializations of that space. 00:36:45 - Speaker 2: One element you touched on there, Steve, which also I think fits in with the multimedia side as well as you talked about the elements, you know, we call them cards and news just because I think that works for us visually and particularly with the touch screen. It feels like an index card moving around on a desk or something, but yeah, the elements have a certain sameness and I think this does go back to Illustrator, which in many ways was the original Infinite canvas to my mind, but you know, maybe sketch and. FigMA and Framer kind of modernized that a little bit, but when you lay down a bit of text or add an image or add a rectangle in, for example, sketch, you can click on and select each one of them. You resize them the same way as you said there might be slightly different rules around resizing. There may be snapping or other things, but in the end, You can do the same things with all of them, and I think that’s really important and it’s actually something that to me comes actually from file systems. This is what’s great about files. It doesn’t matter what’s in the file. You can always delete it the same way. You can copy it the same way. You can put it in a folder the same way, you know, inspected size, that sort of thing. There’s this uniform container. And then over the years, files have gotten more capable and contained more and more different types of things, including, you know, things like video that the original creators of the file system probably couldn’t have even pictured being possible on a computer, but because it’s this general purpose container and as a user, I feel that gives me a lot of agency and power because even if I don’t know the specific type, I know exactly how to manipulate it. 00:38:16 - Speaker 3: This is reminding me that there’s potentially some secondary axis here. So one is collaboration, which we’ve mentioned, and we almost take that for granted now when we think about modern software, but you know that is a separable axis. The other is this notion of inline editing, which I think is actually pretty essential to what we think of as a modern multimedia canvas app, in contrast, you know, with the typical file manager like Finder, that’s actually very high on multimedia and quite high on. 2D flexibility, especially on your desktop, but you don’t have the inline editing, so it it feels like a totally different experience. 00:38:50 - Speaker 1: Yeah, this ability to not only move, delete, organize, copy, hold alt to clone, to directly manipulate content, but also It’s not only about making choices about where a thing is, or its relationship to other things, but it’s the place also to make stuff and to edit it directly. And yeah, one of the bigger kind of challenges with tealra was deciding how to allow interactions within shapes versus interactions with shapes. So, for example, you have a video, you can click on the video and drag it around. But you might also want to like pause the video or change the time of the video, and thinking about, OK, well, how do you transition from a shape that is, I call them shapes, whatever tail drops I’m gonna keep using that word, too hard to deprogram a shape that is Acting like a shape versus in a shape that is acting like a video, and that you can interact with with like a video. And yeah, it turns out that there’s a pretty good rules around that, like how to make it consistent, which works just as well for like text as it does for videos, as it does for, I think I have a code sandbox, you know, running on the canvas and teal draw in one of my example projects. The joy of using a kind of a web-based canvas of rendering stuff using the web, although that sounds like such a bad idea to render things in HTML and CSS, but it really does give you the ability to just put anything that can be in a browser on the canvas and interact with it. 00:40:29 - Speaker 3: And this also brings us to the why now and why is this hard. Like if this is the fully generalized form of digital documents, why didn’t software start this way? I think a big part of it is just that it’s hard. Like we talked about how it’s hard to write a text editor, but what if you now need to write a text editor, an image editor, a video editor, and audio editor, and they all need to be in the same thing, you know, it’s, it’s quite difficult. And then on top of that, you got to actually render all the stuff and make it manipulable and fast and responsive. It’s just quite difficult. I think that’s a big reason why. We haven’t seen it until relatively recently. I also think there is an element of people just, they don’t fully realize the expansive possibilities of the software, perhaps when they’re starting from a very limited. World. But OK, I constantly bring up this analogy of like a woodworking shop. Could you imagine if you had like a woodworking district and you had a shop just for like your chisel work and then a shop for your saw work and then a shop for your standing work and like you had to take this, you know, quote unquote file of a project and bringing it across to these different buildings. That’s kind of the world that we live in now, and you can’t even look at two things at the same time, like you’re standing and your chiseling work. That’s kind of the world that we’ve been living in with respect to software for a long time. And yeah, it takes some work to bring all those things into one. Workshop and to learn all the tools and to keep them all maintained and stuff, but that’s what you really want as a creator. 00:41:43 - Speaker 1: Yeah, especially in the browser, it’s like. Every 10 years, I’m told that you just have to forget what you knew about like what you can do and what you can’t do just because it just gets that much better. Certainly when I was Poking around with WordPress websites in college, the web was not a place where you could make a kind of a dumb driven canvas and make it like fast and good and perform it and do all the things that you need to do with pressure and multi-touch and all that. But it is possible today, and I think that when a platform is mature enough, you know, for you to have like an anything app, kind of a place where you can just put anything. OK, cool. Videos, yeah, put it there. Text, we’ll put it there. And that’s always sort of been the promise of the browser. It’s just been really constrained to this document format that is increasingly showing its limits. I think one of the newer APIs that I was looking at from Google, you know, involved like transitions, like kind of iOS style transitions between things, you know, that absolutely explodes the notion of the web page as a page and hopefully Tera also kind of demonstrates that this technology could be used. By the way, like, the idea of a rack driven canvas, not to keep coming back to framer, but That’s where I saw that this was possible because their, their canvas is driven by react and is driven by the dumb and like surprised me with the fact that it worked and that it could be made secure and all that. So, I don’t think I would have come up with this project without having seen it been done by people more capable than me than considered that as a possibility. It’s like, hey man, you could put anything on here. Like, why aren’t we? 00:43:26 - Speaker 3: This was an important data point for me in believing 4 or 5 years ago that these multimedia canvases were going to be really important because anywhere you had anything that was like multimedia canvas, if you squint, people loved it and they were using it for all kinds of stuff. I mentioned the example of spreadsheets. Another example is using tools like PowerPoint or drawing programs to do like whiteboarding basically. We’ve also seen this more recently with FigMA. FIMA is obviously a design tool, but people will use it for a personal note taking just because they really like the ability to put different stuff on a canvas. 00:43:56 - Speaker 1: Yeah, I think one of my first creative software experiences was with Hypercard, way back in the day. I think it was still Hypercard, like Apple Hypercard or not macromedia or Flash or anything like that, but yeah, there’s this idea of like, that is not an infinite canvas, that’s just a glorified slideshow. But it’s still like I’m like, man, you can make games with this, you can make presentations for this, you can make You know, animations, if you just click next fast enough. Yeah, um. A little bit of Like giving users a little bit of room to run, you know, it’s always like the best, just because, yeah, suddenly you have Doom running in Microsoft Excel. Yeah, and I think with TLDraw, I mean, folks have made a slideshow app, like a slide editor app with TLDraw, which apparently didn’t take too much work cause it already had like pages and you’re just have a UI for moving between pages and I’ve seen it used to do video annotation, like you pause a video at a certain time and just overlay like teal draw and be able to edit, like, you know, this guy’s gonna run over here or whatever, and it’s been used for like wikis. One of my favorite stories about this actually is that there are two products that compete with each other. They’re both for Dungeons and Dragons game masters or Dungeon masters. And when you’re telling or running like a story campaign or a story world game, you have a bunch of locations and people and, you know, items and all this stuff and they might have relationships to each other, etc. And so there are two pieces of software, one is called WorldAnvil, one is called Legend Keeper, and they both are essentially wikis, custom wikis for people who are running these games. And Legend Keeper shipped a whiteboard view of their like wiki, essentially. Based on TalDraw, like 6 weeks after I shipped TealDraw, like open source it, like immediately, they seemed to be like immediately, oh cool, this thing that we wanted to do for like 2 years, like, let’s just do it. Like we could just nail this, and they did. And then about 6 months later, World Envil released their canvas, their whiteboard view of their wiki, which was also based on Tealra. And I had been, I’d been telling people I’m like, someday there’s gonna be a product. Or two products that are competing with each other, similar features, and the thing that they’re not gonna be competing over is like how well the eraser works or how well the select tool works. They’re gonna be competing at that higher level of, yeah, like the features that they built that are unique to their products because both of them are gonna be using TealDraw. And then it happened 6 months in, it happened that I was like able to point to both of them and I love that. They’re both wonderful products and then their communities are always posting. Like I kind of lurk on their Discord channels just to see people’s like whiteboards, and yeah, it’s like 200 individual characters, you know, in a big family tree structure or like alliances between things. Yeah, definitely not what I expected when I was working on Tealdrop, but that’s the whole point, right? It’s like to see where people take it. 00:47:06 - Speaker 2: That’s great and I like the Dungeon master and world building aspect. We have some new customers who do a similar thing for their sort of dungeon mastering, but it is in a way the purest form of knowledge management. Yeah, you have this complex world, you need to keep track of stories, characters, yes, it’s all made up. There’s a version of this for sort of fictional worlds as well, right? Like, yeah, if you work on some franchise like Star Trek or whatever. to keep some shared knowledge base of all the canonical everything that has ever happened, timeline and characters and rules for the universe and things like that, but yes, it is a mix of obviously textual, kind of more linked wiki knowledge graph style stuff. But obviously diagrams, maps, drawings, all of that can and should be a part of it, but traditionally the digital tools that we use tend much, much more towards those that text and that linear top to bottom document, and it’s not even top to bottom, it’s really about the inline. It’s about the text that flows left to right and it wraps when it hits the edge of the screen and it keeps going down until you get to the bottom and any multi. The media you add tends to kind of float awkwardly as sort of a big character or something, but I think when you look at something like the Dungeon Master use case which so purely and in this made up realm captures the complexity of what you can do with computers in terms of tracking knowledge and what you might want to do, and quickly you see that text is a big part of the story, but it’s not the only part. 00:48:38 - Speaker 3: Yeah, and I think related to this idea of constrictive media types and layouts is the notion of premeditated workflows versus totally in the control of the user workflows. So typically with software, you have workflows that are Designed by a product manager or whatever, and they write down the software and that’s that. So you can imagine for world building, you have a database table that’s like characters and database table that’s equipment and you know, if you have something that doesn’t have a common database, well too bad, you know, email the product manager maybe able to add it in a year. But people really like the ability to craft the software to their use cases and motivations. I think this is a big draw of The multimedia canvas, you can just do whatever you want with it. You know, if you have a different way that you think about equipment or characters or whatever, you just put it on the canvas and and do whatever you want. And I think that’s an important aspect. But the other thing here is you can go down a layer and change the actual programming, which is one of the things that sounds like it is really exciting with TLDraw. And again, people, when they just give them a little kernel of power and capability and you meet that. With some motivation, people do all kinds of stuff. I’m reminded of the Half-Life game engine. I don’t know if you guys know the story, but the game itself was great. It was very successful. But this game engine spawned off all kinds of stuff, you know, that critically, the original creators did not anticipate, design, approve, or even know about, right? Just someone else, they took this kernel of power and made something new. I think that flow was so great. 00:50:05 - Speaker 1: Yeah, absolutely. One of the opportunities of having like a multimedia canvas is the ability to extend it semantically, almost, and you see some of this discourse around like the idea of notion-based editors, block-based editors, right? Is that like text is a primitive, images are primitive, but you start to kind of wrap these things up into more specific domain specific or just project specific and more meaningful blocks, right? And those things can interact in ways that maybe have to do with like what they are. So in the kind of the Dungeon Master example with something like Legend Keeper, the things on the canvas that they added were parts of your wiki that you can put on the canvas. And so the character on the canvas, you know, you can drag out a character from your wiki and put it on the canvas, is not just an image of that character, but it’s sort of is a representation of it. And It could be that dragging a character onto another character might produce a different outcome, might suggest a different user intent than dragging a character onto a location, right? Now suddenly you’re able to extend this surface metaphor into something where those same basic interactions, those same basic direct manipulation actions can be like meaningful in a way and produce different outcomes based on what you’re working with. Um, it’s not just text, it’s not just images. Now, we have people, we have places, we have things, and they might have their own rules around them. 00:51:34 - Speaker 3: Yeah, I think this idea of extending the content types in the canvas is super cool. We explored this a little bit back in the day with the prototypes that led to Muse in the Ink & Switch research lab, and I remember a couple that were really fun. One was a person. Which is represented as like an avatar and a name, but it was so useful to be able to have someone on the board and put them next to tasks or put people in a group, or, you know, put your current work under your picture. It’s like a great primitive, in other words, maps and locations, something that actually people use all the time for planning purposes. But I think there’s an important sell to here around extensibility. So there’s one thing you could do, which is draw out the notion of a box and say, we as the creators of this program could put different things in this box, you know, notion could put different things in their block abstraction. And just that is useful because then you can manipulate these in standard ways and link to them and so on. But then users being able to extend it is so fun and powerful. I remember with our prototypes, because this was back when we were doing the prototypes in JavaScript and people could just kind of write the stuff like a react component. And it was people were so excited to be able to write their own things, you know, things that were too specific and niche for the central, you know, controllers of the framework to ever worry about or even think of, but people felt so empowered to write their own components. This brings me to a problem that we’ve been noodling on for several years and and to my mind it’s still a critical open question. So when you’re trying to build these end user extensible digital document systems, there’s a few deerrata that you want. OK, you want it to be very fast, you want it to be safe in the sense of end users aren’t gonna be injecting wild stuff, you know, and other users' data or something. You want it to be approachable cause you want end users to be able to actually use this thing. You don’t want to give them some like, you know, assemble or guide and say go have fun. And ideally, I think you want the extensions to not feel like a totally different world, like some limited, slower, neutered, you know, subset of the platform. You really want to feel like the extensions and the platform itself are like written in the same way. And in fact, if an extension does well, it can be promoted into the platform. Or if a piece of the platform is, you know, not finding a lot of use that can be sliced off as an extension. And I just think it’s very hard to get all these things at the same time and it’s not clear to me how you do it. So for example, C++ can be very fast and It can be safe. Maybe Rust would be a better example of something that’s very fast and safe. But then telling end users to write their components in Rust, that’s a little bit harsh. And JavaScript in our experience can be very approachable, it’s very flexible, but it can be very hard to make fast, especially at the 120 FPS level that we’re targeting from use. So I’m just kind of curious if they that problem statement kind of resonates with you, and if so, how you’ve been approaching that. 00:54:25 - Speaker 1: Yeah, I think that’s a really good summary of the problem of extensions. Um, which some of that is gonna be true for any products, right? Like it’s true for a text editor as for a video conferencing infrastructure. I don’t know, whatever. In the case of Tealra. I’ve addressed this in kind of three design decisions. One is to use React for the canvas again, because I think the development story there makes up for the performance story. And the performance story is pretty good. It’s never gonna be as good as something like custom webGL canvas that was written in a systems language, right? That’s not gonna be possible. But on the other hand, uh, you can put things in there that you just can’t put in anything else. You can put a mapbox map or you could put a, you know, YouTube video, like as we’ve talked about, and you can do that, you can offer those things fairly easily. So, in the case of Tealra, all the shapes that you and I’m kind of referencing this next version that’s gonna be launching soon, all the shapes that you see. When you look at teardrop when it loads up, those are essentially extensions. Those are all custom. We wrote the user facing app kind of at that same level as you would write your custom plug-ins and your custom things. And I was pretty good about not cheating, and of course it’s easy cause we can change that lower level, you know, that core level in order to facilitate things that don’t work yet, but um all the shapes are custom shapes or plug-ins. And then the shapes themselves, these sort of like plug-in shapes. are all based on like uh primitives that the lower levels do share. So, for example, you have something like a box, right? A box rotates in a certain way, it resizes in a certain way, it hit tests against like points and lines in a certain way, and all of those things are different than if it was like a pencil shape, like a drawn line. All those answers are different. However, they’re all the same. Every box is gonna hit test pretty much the same way as every other box. Every line is gonna hit test the same way as every other line. So when you’re creating these custom shapes, when you’re creating these extensions, you’re able to just sort of inherit all that functionality from kind of the base, right? You say this is a box, all right, job done. This is its model. It has a width and height just like a normal box, but it also has a latitude, longitude and a camera zoom. And then the next question is like, well, what does it look like? And you say, well, it looks like a map box component, and it uses that data from the model, and that’s pretty much all the code you have to write, because all the other parts of that box in terms of its behavior and such are just their default, right? If you wanted to make something crazy and unique or if you wanted to make something that was very different than all of the primitives that we do share, things like whatever boxes, lines, polygons. Then you can also access those same primitives, those like lower level primitives to say, OK, well, here’s my squiggle. It has 3 ups and downs. Here’s it’s like outline that you can use for hit testing, and here’s how it resizes and all that. But most of the time, the custom shapes that we’ve written are just boxes, mostly just boxes with react components inside of them. So that’s the authoring experience, or the like developing story there, which itself is a developing story as we try and push like what you can do with these type of shapes. Then separately, it’s like, how do you do that, especially in a multiplayer situation, how do you allow multiple people to be using their own custom shapes, especially if they’re sort of end user credable. At the moment, the answer is, well, you don’t. The way that I’m thinking about this is deferring to sort of the implementer level, is that TealDraw as a SAS product might someday have its own extension markets like you might find in Figma where you can download stuff. But in the short term, this is primarily infrastructure tool for other teams to create apps with. Those folks would be the ones defining, you know, OK, well, here’s my person place thing shape. Those folks would be also guaranteeing that everyone who’s using the app has access to those same shapes. And so it wouldn’t really be like end user developer who’s making those extensions. 00:58:38 - Speaker 3: Yeah, so each instance of the TLDraw derived app chooses its extension ecosystem and curates those and makes sure that they’re safe, and it’s not every individual Joe, you know, injecting JavaScript into everyone else’s computer. 00:58:52 - Speaker 1: Yeah, exactly. There might be a future where we want to solve those types of problems or like create those types of marketplaces. And there are a ton of interesting questions about like, well, how do you distribute those shapes in like a multiplayer situation with people who haven’t installed the plug-in. What happens if you copy your squiggle shape from one project into a different project that doesn’t have that squiggle shape? Those are all questions for later down the road. I think the primary thing that I’m going for with this version is just giving other developers the tools that they need in order to build the experience that they want for their users to have that involves this sort of canvas. 00:59:27 - Speaker 3: Yeah, and I think that’s a very reasonable and practical set of trade-offs, you know, react, curated by the instance, makes a lot of sense. It is fun to think about the fully general world. 00:59:37 - Speaker 1: Oh, totally, yeah. 00:59:39 - Speaker 3: Of arbitrary extensions. 00:59:40 - Speaker 1: I’ll get there eventually. There’ll be some cool streaming JavaScript modules, you know, that are pulled in at runtime in order to, you know, we’ll get there, don’t worry. happy not to be thinking about that yet. 00:59:52 - Speaker 2: I think of the time, certainly. 00:59:54 - Speaker 3: And your experience with React is that it’s fast enough. My recollection, so this was a few years ago, but my recollection was that React or React like systems on the web for this canvas use case was Not fast enough. 01:00:09 - Speaker 3: More like was very close. It was right on the line in the sense that if you kind of did anything weird or made a little performance mistake, it’s very easy to throw the flags, not meeting even 60 FPS. I don’t think we ever could try to get to 120 FPS because the browsers on the iPads don’t support 120 FPS as far as I know. 01:00:34 - Speaker 1: Yeah, that’s true, that’s true, but it’s like plausible for 60. 01:00:37 - Speaker 1: Yeah, I think Chrome goes up to 120, and I mean you could try out on Teal Draw, even though the current Tealraw.com is sort of the first version, and that ha