Podcasts about gypsies

Whoopi Goldberg had to apologize for saying gypped..it was used as a slur for Gypsies. 13 President Biden is the big guy mentioned on Hunters Laptop. Hunter is in charge of the Biden finances. MSG's facial recognition system is now being used in stores and businesses to slow down shoplifting.

President Biden is the big guy mentioned on Hunter's Laptop. Hunter is in charge of the Biden finances. Jackie Martling, interview: Jackie keeps Mark laughing with his great jokes and one-liners.

As Lum and Abner sit in jail, they discuss grandpap's mix up that landed them there. Cedric returns with the worthless horse that Lum traded from the Gypsies. So far,…

Grandpap wonders why Abner is so desperate to get shut of his stuff by September 1st. As part of the inheritance deal, he can't tell his friends why. Grandpap has…

The crew of a U-Boat in the Great War find some danger runs very very deep CAST Cap. Karl Heinrich - Rick Lewis Lt. Keinze - J. Hoverson Crew:  Shawn Connor & Bryan Hendricksen Music by:  Kevin MacLeod (Incompetech.com) Recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound:   Julie Hoverson Cover Art - Brett Coulstock "What kind of a place is it? Why it's a U-boat of the Kaiserliche Marine - can't you tell?" ______________________________________________________________ THE TEMPLE Cast: Lieutenant Commander Karl HEINRICH, Graf von Altberg-Ehrenstein, Lieutenant-Commander in the Imperial German Navy, Prussian (mid 30s?) Lieutenant Jurgen KIENZE, second in command, "womanish Rhinelander" (30) Boatswain MULLER, elderly "superstitious Alsatian swine" SCHMIDT [mid 20s - goes mad] ZIMMER [mid 20s - leads delegation to get rid of idol] BOHIN [mid 20s - goes mad] RAABE [early 20s - engineer] SCHNEIDER [early 20s - engineer] OLIVIA      Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a U-Boat of the Kaiserlich Marine, can't you tell?  (That's World War I, for all you younger folks...) [My apologies for any mischaracterization of Germans - it's all from Lovecraft's original text.  His complete lack of knowledge of U-Boats also - But I had to leave in the portholes to support the story.  Any mistakes in military etiquette of the time are probably mine, though.] MUSIC SCENE 1. AMBIANCE     U-BOAT ENGINE SEAMEN     [murmuring voices] SOUND     HATCH OPENS, CLANGING FOOTSTEPS KIENZE     Achtung!  Kapitanleutnant Heinrich on deck! SEAMEN     [instantly silent] HEINRICH     [commanding, slightly angry sounding]  Ser gut!  I have been reviewing the log regarding the sinking of the British freighter Victory, and I must say [getting ominous] that you are - most definitely - [spitting out the words] the single, absolute, most efficient U-boat crew in the Atlantic.  [laughs]  At ease, at ease. SEAMEN     [Excited chatter] KIENZE     I myself cannot wait to view the film we took. HEINRICH     Ya, ya.  [aside] The camera was off before we sank the lifeboats? KIENZE     As always, Kaleu. SOUND     HEARTY CLAP ON SHOULDER HEINRICH     Most excellent.  Come Kienze, I have a bottle of some fine Schnapps.  You must help me celebrate. MUSIC     in then under   SCENE 2. HEINRICH     [on a recording, tired sounding] On August 20, 1917, I, Karl Heinrich, Graf von Altberg-Ehrenstein, Lieutenant-Commander in the Imperial German Navy and in charge of the submarine U-29, deposit this bottle and record in the Atlantic Ocean at a point to me unknown but probably about North Latitude 20 degrees, West Longitude 35 degrees, where my ship lies disabled on the ocean floor. MUSIC      HAS FADED OUT   SCENE 3. SFX     SUBMARINE SURFACES SOUND     HATCH OPENS AMBIANCE     CALM SEA, OCCASIONAL BIRDS SOUND     FOOTSTEPS ON METAL HEINRICH     [grunt - stretching noise]  There is nothing like the first step out on deck after a victory, eh?. KIENZE     A "Victory"?  [chuckles]  Ya.  Very amusing. MULLER     [off]  Kaleu, sir!  Come! SOUND     FOOTSTEPS ON METAL HEINRICH     What could be so--  Oh! MULLER     He must be from the Victory, sir! KIENZE     Alive? HEINRICH     Don't be foolish, Kienze, we were far too long submerged.  He would have had a better chance if he let go and braved the waves.  [shouting off]  Remove the corpse! [NOTE - red text will come back at the end in echoes] ZIMMER     Sir!  His hands are in a death grip!  HEINRICH     Fingers break more easily than railings. ZIMMER     [hesitantly] uh... Aye sir! SOUND     POUNDING NOISES HEINRICH     [sanctimonious] One more victim of the unjust war of aggression the English schweinhunds are waging upon the Reich. KIENZE     Truly, he is our victim.  Nothing more. HEINRICH     You do not see the whole picture - [amused] Just like a soft-headed Rhinelander.  If you were a solid Prussian like myself-- SEAMEN     [OFF - NOISE OF AN ALTERCATION] HEINRICH     Vas is los?  Go and see. SOUND     FOOTSTEPS ON METAL KIENZE     What is this?  What is this?  Achtung! SOUND     SCRAMBLE OF MEN GETTING TO THEIR FEET KIENZE     What is so very exciting? ZIMMER     Sir!  Schmidt took something from the pocket of the ... [gulp] d-dead one. KIENZE     Schmidt?  Would you show this to me? SCHMIDT     It is nothing, Leutnant.  KIENZE     I will judge that.  Give it me.  [beat]  Well, this is... certainly something.  I am confiscating it - now put that over the side. SOUND     FOOTSTEPS ON METAL HEINRICH     So? KIENZE     A bauble.  Ivory, I think - looks like a classical bust, ya? HEINRICH     Not a senator, though - this one is much too young and handsome. KIENZE     Possibly a kaiser?  HEINRICH     Or a god. KIENZE     [reluctantly] It is yours, if you want it.  It might be valuable-- HEINRICH     No, no. I have not the sentimental-- MULLER     [off, screams] SOUND     FOOTSTEPS RUNNING ON METAL HEINRICH     [puffing only slightly] What is it? SCHMIDT     [shivering with fear] Muller, sir - it is Muller! KIENZE     Muller's unconscious. HEINRICH     Wake him. SOUND     SLAPS MULLER     [wails] SOUND     ANOTHER SLAP MULLER     [gasps, is silent] HEINRICH     Get him up here.  [command] Stations! SOUND     RUNNING FEET CLANG AWAY KIENZE     Are you going to talk sense now? MULLER     [hollow]  His eyes!  His eyes! KIENZE      Whose eyes?  Speak sense! SOUND     SLAP HEINRICH     Enough!  Muller.  Tell me what is wrong. MULLER     Ya, mein kapitan!  [trying to calm down]  The body - the eyes were closed.  But when they rolled it over the side, they opened - and they were mocking us! HEINRICH     [casual] Superstitious rubbish.  Muller, you have seen corpses before now, and-- MULLER     Sir!  But that is not all!  He--  [sullen, inward] You will not believe me! KIENZE     You are under orders to speak. MULLER     I-- watched as the body hit the water.  I saw it sink beneath the waves, and-- HEINRICH     And--? MULLER     [almost a whisper] It drew its limbs in, and swam away. KIENZE     You filthy lying--! [grunt as about to slap him again] HEINRICH     Nein, Leutnant.  [calming]  Muller.  You know this cannot be true, don't you? MULLER     But I saw-- HEINRICH     Water is deceptive.  It is strange, ya, that the body simply sank - but that is probably due to its waterlogged condition after being held under on our railing for hours.  Beyond that--?  It is all a trick of the light. MULLER     Truly? HEINRICH     I will hear no more about it, ya? MÜLLER     But you should keep no part of him on the ship - it is bad luck.  The statue-- HEINRICH     Is nothing.  It is a trinket.  You go about your duties now, Boatswain. SOUND     RELUCTANT FOOTSTEPS AWAY HEINRICH     Pfaugh.  [muttered growl] Superstitious Alsatian swine!  Why am I surrounded by inferior-- KIENZE     Kaleu?  Do you wish that I throw the bust overb-- HEINRICH     Nonsense.  We do not give in to fear.  We are men of the twentieth century - and, more importantly, officers in the Kaiserliche Marine.  KIENZE     I could... tell them I threw it-- HEINRICH     Do not show weakness.  It makes you sound unreliable. MUSIC     in and under   SCENE 4. HEINRICH     [canned] The next day a very troublesome situation was created by the indisposition of some of the crew.  Evidently suffering from the nervous strain of our long voyage, they had had bad dreams.  When weather turned choppy, we descended to a depth where the sea was comparatively calm, despite a somewhat puzzling southward current which we could not identify from our oceanographic charts. MUSIC      HAS FADED OUT   SCENE 5. SOUND     HATCH CLOSES SFX     SUBMARINE SUBMERGES SOUND     FOOTSTEPS ON METAL RAABE     Under-Engineer Raabe, here to make a report, sir! HEINRICH     Where is Schneider?  RAABE     He is ... unwell, sir. HEINRICH     What is wrong? RAABE     He... did not sleep well, sir. HEINRICH     What? KIENZE     It is the same with many of the men, Kaleu.  They are feverish and say they have had bad dreams. HEINRICH     If they are shirking, I will-- RAABE     Sir, no!  Schmidt is burning up with fever, screaming all night in his berth.  HEINRICH     [sympathetic] Then you did not sleep well either, I expect? RAABE     Nein, Kaleu. HEINRICH     [very pleased] Yet you are here, like a good sailor.  Good man-- MULLER     [muttered off] It is the idol.  It is accursed. HEINRICH     What?  Muller? MULLER     [panicky] Nothing.  I said nothing sir. KIENZE     He said-- HEINRICH     [grim] I heard what he said.  Muller, I will have none of this wild peasant superstition on my ship! KIENZE     [amused undertone] You forget, mein noble Kapitan, I am a commoner as well. HEINRICH     [dismissively] Burgher stock.  [teasing slightly]  And they made you an officer - you must have some good qualities. MULLER     What does it matter?  We are all doomed! RAABE     [dismissive] Doomed?  Because some men are sick? HEINRICH     Sehr gut.  We must remain rational at times like these.  Retain our iron German will.  [sharp] Kienze? KIENZE     [snapping to] Ya mein kapitanleutnant? HEINRICH     Remove Boatswain Muller.  KIENZE     Ya, Kaleu.  MUSIC     in and under   SCENE 6. HEINRICH     [canned]  The moans of the sick men were decidedly annoying; but since they did not appear to demoralize the rest of the crew, we did not resort to ... extreme measures. It was our plan to remain where we were and intercept the liner Dacia, mentioned in information from agents in New York. MUSIC      HAS FADED OUT   SCENE 7. SOUND      INSIDE THE BOAT.  MANY FEET RUNNING ACROSS METAL, FEET STOP ABRUPTLY CROWD     [muttering, backs up Zimmer throughout the scene.] HEINRICH     Und vas is los? ZIMMER     [clears throat]  Kapitanleutnant, we must request - most strenuously - that you-- HEINRICH     Is this about that knickknack?  What sort of Gypsies are you, to believe such phantasms?  ZIMMER     But what could it hurt, sir?  It is surely not so valuable that it is worth risking-- HEINRICH     What?  Risking what?  The only thing we are risking here is our mission. BOHIN     We will all die! ZIMMER     Shh.  [trying to sound reasonable] Morale, mein kapitan.  It is such a small thing, yet would mean so much to the men. HEINRICH     [low, despising] I see no men here. MUSIC     IN AND UNDER   SCENE 8. HEINRICH     [canned] Everyone seemed inclined to be silent now, as though holding a secret fear. Many were ill, but none made a disturbance. Lieutenant Kienze chafed under the strain, and was annoyed by the merest trifle - such as the schools of dolphins which passed the U-29 in increasing numbers, and the growing intensity of that southward current which was not on our chart. MUSIC      HAS FADED OUT   SCENE 9. SOUND     HATCH CLANGS SHUT AMBIANCE     UP TOPSIDE SCHMIDT     That makes seven of us.  We can surely-- ZIMMER     Muller is still in irons.  He can be no help. BOHIN     Muller saw them! ZIMMER     Shh.  None of the crazy talk, Bohin.  We cannot let ourselves-- BOHIN     [too intense to be sane] I have not seen them, but they call to me!  Their voices are like the waves - but waves that make words! SCHMIDT     [sigh] So there are six of us. SOUND     HATCH OPENS, A COUPLE OF FOOTSTEPS RAABE     What is going on here? SCHMIDT     [snort] We are planning a party.  What does it look like? RAABE     What is happening that makes everyone so-- BOHIN     There!  In the WATER!  They have come! RAABE     --Crazy? SOUND     RUNNING FOOTSTEPS, A STRUGGLE, A BODY SLAMMED AGAINST METAL. MUSIC     IN AND UNDER   SCENE 10. HEINRICH     [canned]  He was in a detestably childish state, and babbled of some illusion of dead bodies drifting past the portholes; bodies which he recognized, in spite of bloating, as having seen dying during some of our victorious German exploits. And he said that the young man we had found and tossed overboard was their leader. This was very gruesome and abnormal. MUSIC     HAS FADED OUT   SCENE 11. RAABE     Seaman Bohin tried to leap off the deck.  We had to hold him down until the madness left him, sir. KIENZE     All for such a small thing. SOUND     SMALL IVORY STATUE SET ON TABLE RAABE     That is what this is all about? KIENZE     Just that. SOUND      FOOTSTEPS, STATUE IS SNATCHED UP AND PUT AWAY IN A POCKET ZIMMER     Sir!  Leutnant Kienze?  Bohin is gone!  He is nowhere on the ship.  MUSIC     IN AND UNDER   SCENE 12. HEINRICH     [canned]  It at length became apparent that we had missed the Dacia altogether. Such failures are not uncommon, and we were more pleased than disappointed, since our return to Wilhelmshaven was now in order. MUSIC      HAS FADED OUT   SCENE 13. SOUND     MEASURED FOOTSTEPS AMB     INSIDE SEAMEN     [Muffled, CHEERS!!!] HEINRICH     [sigh]  This soft-headedness is not good.  Morale is the result of willpower, not coddling. KIENZE     Still, I too will be glad when this trip is over.  That southern current we have blundered into bothers me. HEINRICH     It explains how we missed our target.  Not every inch of the ocean is charted properly.  KIENZE     But it is so strong - to be overlooked. RAABE     [clears his throat]  Sir? HEINRICH     Schneider still not feeling well? RAABE     He prefers to remain in the engine room, sir.  He does not like ... being near portholes. KIENZE     Portholes? RAABE     His dreams haunt him.  [hurriedly] But he is not impaired in his job. HEINRICH     [teasing] Well, certainly you did not come all this way to tell us Senior Engineer Schneider does not like portholes.  Out with it! RAABE     Something fantastic has happened.  The boat - it is surrounded by -- dolphins. HEINRICH     Dolphins?  How many? SOUND     KIENZE'S FOOTSTEPS GO AWAY KIENZE     [off] Ya, come and look!  They are everywhere! HEINRICH     Finally something the superstitious can interpret as a good sign, ya? KIENZE     [jubilant] Just as we decide to return to Schlicktown!  This should truly mollify them. HEINRICH     [dry] How fortunate. MUSIC     IN AND UNDER   SCENE 14. HEINRICH     [canned] At noon June 28 we turned northeastward, and despite some rather comical entanglements with the unusual masses of dolphins, were soon under way. MUSIC      HAS FADED OUT   SCENE 15. SOUND     SNORING [HEINRICH] SFX     EXPLOSION HEINRICH     [wakes up] What?  What? SOUND     MANY RUNNING FEET, SOME BARE, ONE PAIR OF BOOTS STOMPS THROUGH CALMLY HEINRICH     Report.  Someone report! SCHMIDT     This is your fault, you swine!  You made us‑‑ SOUND     SLAP, BODY HITS METAL WALL HEINRICH     SHUT UP.  Is there anyone who can talk sense? KIENZE     [breathless, and coughing]  They have the fire out.  The explosion was in the engine room.  HEINRICH     What caused it? KIENZE     They have found no cause as yet.  The damage is extensive.  All systems have not yet been tested, but it is certain we have no steering. HEINRICH     No--?  What about the air compressors? KIENZE     They appear undamaged.  But, mein freund-- HEINRICH     Ya?  What is it? KIENZE     Schneider and - and Raabe - they were killed instantly. HEINRICH     [long indrawn breath, then cold as he can be]  That is most unfortunate. MUSIC     IN AND UNDER   SCENE 16. HEINRICH     [canned] Our situation had suddenly become grave indeed; for though the chemical air regenerators were intact, and we could use the devices for raising and submerging the ship and opening the hatches as long as compressed air and storage batteries might hold out, we were powerless to propel or guide the submarine. MUSIC      HAS FADED OUT   SCENE 17. SOUND     SNORING [KIENZE] SOUND     CURTAIN OPENS VERY STEALTHILY, HUSHED FOOTSTEPS, RUSTLING KIENZE     [snoring stops] SCHMIDT     [gasp] SOUND     SCUFFLE SOUND      COCK OF GUN KIENZE     What is it you think you are doing? SCHMIDT     [nutso] He demands it!  He will not let me sleep until it is returned to him! HEINRICH     [off] Was iss? KIENZE      A mutiny, kaleu. MUSIC     VERY BRIEF HEINRICH     [muttered] Can we do without Schmidt, short as we are of hands? KIENZE     Hah!  With no engines to maintain, I must always find make-work for the men.  They will go mad [bad choice of words] -- they are restless if left sitting on their hands. MUSIC     IN AND UNDER   SCENE 18. HEINRICH     [canned] German lives are precious, but the constant raving of Schmidt concerning a terrible curse was most subversive of discipline, so drastic steps were taken. The crew accepted the event in a sullen fashion. MUSIC      FADED OUT   SCENE 19. AMBIANCE     INSIDE SOUND     HATCH OPENS ZIMMER     [jubilant, yelling down from above] A ship!  We are delivered! HEINRICH     [composed]  Excellent.  You see, Kienze?  It is never so dark that there is no light.  Come along. SOUND      STEPS CLIMBING LADDER, THEN OUT ON DECK KIENZE     Give me the glasses. ZIMMER      But it is a ship, leutnant, isn't that enough? KIENZE     [suspicious]  Glasses, now! SOUND     A BEAT, THEN HEAVY ITEM PUT IN GLOVED HAND. HEINRICH     Vas ist? KIENZE     [disappointed and disgusted] Yankees.  ZIMMER     But surely surrender is better than death-- HEINRICH     [cold] Zimmer? ZIMMER     [braced for the worst]  Ya, kapitanleutnant? HEINRICH     [colder] Prepare for a dive. SOUND     GOING DOWN LADDER. MUSIC     IN AND UNDER   SCENE 20. HEINRICH     [canned] We did not descend far.  After several hours, we decided to return to the surface, however, the ship failed to respond to our direction in spite of all that the mechanics could do. Some of the men began to mutter again, but the sight of an automatic pistol calmed them. MUSIC      HAS FADED OUT   SCENE 21. KIENZE     Kaleu, the men are very restless.  They fear the worst, being trapped and drifting.  They blame us for making a bad decision. HEINRICH     [offhand] It was the only decision to make.  None but a weakling would surrender to the Yankees.  KIENZE     Any man may turn weak in such conditions-- HEINRICH     [self-satisfied] No Prussian.  And if I must be the backbone so my crew can stand straight as men, so be it.  KIENZE     The men are restless.  Angry. HEINRICH     [dangerous] If they will not stand, then I will put them down and stamp their bodies into pulp fit only to paint the walls. MUSIC     IN AND UNDER   SCENE 22. HEINRICH     [canned] It was about 5 A.M., that the general mutiny broke loose. The six remaining pigs of seamen, suspecting that we were lost, suddenly burst into a mad fury, roared like the animals they were, and broke instruments and furniture indiscriminately. Leutnant Kienze seemed paralyzed and inefficient, as one might expect of a soft, womanish Rhinelander. MUSIC     HAS FADED OUT   SCENE 23. SOUND     FADING IN, SIX GUNSHOTS, ECHO FADES AWAY HEINRICH      [breathing hard] KIENZE     [gasping, almost hysterical] HEINRICH     [deep breath] Get up. KIENZE     [gasps] Did you--?  Was that ... necessary? HEINRICH     [scornful laugh] You saw them.  Now, stand.  We need to clean house. KIENZE     What do you plan to do? HEINRICH     What else?  Put them out.  We can't keep them here to stink up the place. SOUND      SCUFFLING, THEN SHUFFLING FEET KIENZE     We can use the top hatch-- HEINRICH     Ya, ya.  [going off] Make sure they are all dead, will you?  KIENZE     [calling] Where are--?  This will be easier with two. HEINRICH     [turning back, briefly] So would killing them, but I had to handle that.  This is your part.  [leaving again] Let me know when you need help getting them up into the hatch. MUSIC     IN AND UNDER   SCENE 24. HEINRICH     [canned] Our compasses, depth gauges, and other delicate instruments were ruined by the rampage of those swine; henceforth our only reckoning would be guesswork, based on our watches, the calendar, and our apparent rate of drift. MUSIC     FADED OUT   SCENE 25. SOUND     FEET COMING IN [KEINZE] HEINRICH     Look at this. KIENZE     [coming in]  Ya?  Oh, ya, more dolphins.  Very exciting. HEINRICH     No, no - this one here.  See the one with the scar? KIENZE     Ya. HEINRICH     How deep are we, did we determine? KIENZE     Too deep for dolphins, certainly, but-- HEINRICH     I have been watching this one in the searchlight for two hours now - and he has not left our side.  Delphinus delphis is a cetacean mammal, unable to subsist without air. KIENZE     Perhaps they are magic dolphins.  [trying to chuckle] I'm not interested in them until we run out of other rations. HEINRICH     It is a very important discovery.  Perhaps a new sub-species. KIENZE     [sigh] I'm sure the dolphins will be fascinated when you present your paper to them. MUSIC     IN AND UNDER   SCENE 26. HEINRICH     [canned] With the passage of time Kienze and I decided that we were still drifting south, meanwhile sinking deeper and deeper. I could not help observing, however, the inferior scientific knowledge of my companion. His mind was not Prussian, but given to imaginings with no value. MUSIC     HAS FADED OUT   SCENE 27. SOUND     SEARCHLIGHT COMES ON KIENZE     Fabulous, isn't it? HEINRICH     Sunken ships? Interesting, yes, but fabulous?  What else are you likely to find on the ocean floor?  KIENZE     No, no - look there.  To the right.  You see?  That peak.  It is -- HEINRICH     A rock. KIENZE     No!  It is too regular for a rock.  You will see when we get closer. HEINRICH     Wake me when you can see it, then.  I think I will have some sleep. KIENZE     You don't care? HEINRICH     Ya, ya.  Do you need me to remain? SOUND     SITS IN CHAIR KIENZE     [beat] We have lost our escort. SOUND      LEAFING THROUGH A BOOK HEINRICH     Vas? KIENZE     Your beloved dolphins.  They have finally abandoned us. HEINRICH     I am more surprised they remained with us so long. KIENZE     [beat] What are we to do? HEINRICH     Do?  About the dolphins?  I am sure they can take care of themselves. KIENZE     You know what I mean!  What are we to do when we run out of...  of... everything HEINRICH     That is days, perhaps weeks away.  Why waste angst? KIENZE     But - there is no hope.  We will ... we must die. HEINRICH     Everyone must die. KEINZE     We could try and get to the surface - one of us - in the diving suit.  HEINRICH     And how deep did we decide we were? KEINZE     [beat, sigh] very deep. HEINRICH     If you want to take the suit, and try to get it to the surface, you are welcome.  But you know what will happen. KEINZE     It is possible to survive caissons disease. ["the bends"]  Even drastic decompression-- HEINRICH     As a cripple?  With joints that never work without pain?  With skin so damaged no one can look you in the face?  Perhaps paralyzed, even?  Incontinent? KEINZE     [sigh] HEINRICH     Better to die as a man than live as a beast.  Of course you might be lucky and have an embolism on the way up, and then ride the waves as a corpse.  MUSIC     IN AND UNDER   SCENE 28. HEINRICH     [canned] His mind was tired, but I am always a German, and was quick to notice that the U-29 was standing the deep-sea pressure splendidly. Our southward speed, as gauged by the ocean floor, was about as I had estimated from the organisms passed at higher levels. MUSIC     FADE AND OUT   SCENE 29. SOUND     BOTTLE POURS KIENZE     [slightly drunk]  Ya, plenty of air and food, but this [long gulping swig] won't last forever. HEINRICH     Not at the rate you are abusing it. KIENZE     I cannot lose myself in study as you do.  What is the point?  So you know so much more before you die.  HEINRICH     It is not impossible we will encounter another u-boat. KIENZE     Wake up Karl!  This boat - it is our tomb.  We are dead men.  All we have left to do is lie down. HEINRICH     Go to bed, Leutnant.  There is no point in talking when you are totalblau. KIENZE     [laughs bitterly]  You are going to give me orders yet?  What if I disobey?  You clap me in irons?  You will shoot me? HEINRICH     [close and dangerous]  I will remind you that you are a man, a trained soldier, and an officer of the kaiser's navy, and as such you should have the will to face death.  KIENZE     I am a soldier, ya.  I can face death in battle.  It is this lingering, drifting fate that horrifies me.  It is like having a fatal disease - you know you must die, but you cannot know when. HEINRICH     Very well, then. SOUND     GUN OUT OF HOLSTER, CLICK AS BULLETS ARE CHECKED, GUN DROPPED ON TABLE HEINRICH     More air for me. SOUND     RATTLE OF CURTAIN, FOOTSTEPS LEAVE, RATTLE OF GUN ON TABLE MUSIC     IN AND UNDER   SCENE 30. HEINRICH     [canned] The fact of our coming death affected Kienze curiously.  I was very sorry for him, for I dislike to see a German suffer; but he was not a good man to die with. For myself I was proud, knowing how the Fatherland would revere my memory. MUSIC     FADES OUT   SCENE 31. SOUND     SNORING [KIENZE] KIENZE     [waking with a horrified start, screaming] He is calling! He is calling! I hear him! SOUND     FOOTSTEPS, DOOR HEINRICH     [coming on]  What is wrong? KIENZE     We must go!  He will not call forever! SOUND     SLAP KIENZE     [gasps, breathing hard, almost sobbing] HEINRICH     [commanding] Calm down. Remember yourself, man. KIENZE     V-v-vas?  Kaleu? HEINRICH     There you are.  [disdainful] You were having a nightmare.  Now you are better.  SOUND     FOOTSTEPS BEGIN TO WALK AWAY KIENZE     No. SOUND     FOOTSTEPS STOP HEINRICH     [sigh] Vas? KIENZE     It was not a dream.  It was a voice.  I still hear it, you see!  I still hear him.  He calls to me - to us.  I don't know why you cannot hear him! HEINRICH     You are still drunk.  Or deluded. KIENZE     I am not.  Truly.  If you do not believe me, look out the porthole, and you will see his face.  It is right in front of us.  HEINRICH     What?  Show me.  Ah - blackness.  Precisely what is between your ears. KIENZE     The searchlight - kommen-zie! SOUND     FOOTSTEPS, SEARCHLIGHT COMES ON KIENZE     There!  There! HEINRICH     Mein gott! MUSIC     IN AND UNDER   SCENE 32. HEINRICH     [canned] I am not given to emotion of any kind, but my amazement was very great when I saw what lay revealed in that electrical glow. And yet as one reared in the best Kultur of Prussia, I should not have been amazed, for geology and tradition alike tell us of great transpositions in oceanic and continental areas. What I saw was an extended and elaborate array of ruined edifices; all in various stages of preservation. MUSIC     OUT   SCENE 33. HEINRICH     [pleased] Atlantis!  And we, Germans, have discovered it!  This is stupendous. KIENZE     He is out there.  His temple lies still before us, and he watches us from afar. HEINRICH     You saw this in your dreams? KIENZE     [disturbingly reasonable] He told me.  We should go. HEINRICH     Go?  Where? KIENZE     To him.  Come now - do not wait until later; it is better to repent and be forgiven than to defy and be condemned. HEINRICH     You think we should go outside?  We have only one diving apparatus. KIENZE     [laughs disturbingly]  A suit?  We need no suits - he will gather us to him.  HEINRICH     You have finally crossed into madness.  I will find you some medication. KIENZE     You cannot cure this with your science, Karl.  You are so sensible, and what does it get you?  Nothing.  Nothing!  Come now, or there will be nothing left for you! HEINRICH     You are mad.  KIENZE     [losing it] If I am mad, it is a blessing. May the gods pity the man who in his callousness can remain sane to the hideous end! Come and be mad whilst he still calls with mercy!   MUSIC     IN AND UNDER   SCENE 34. HEINRICH     [canned] As he spoke he took his ivory image from the table, pocketed it, and seized my arm in an effort to drag me up the companionway to the deck.  When that did not work, he fled.  In a moment I heard the grind of the first hatch, and understood that he meant to open them both, exposing the U-29 to the water outside, a vagary of suicidal and homicidal mania for which I was scarcely prepared. MUSIC     OUT   SCENE 35. SOUND     THE HATCH WHEEL SPINS SOUND      GUN COCKS HEINRICH     One more move and I shoot. KIENZE     [laughs hysterically]  Shoot?  I have nothing to fear.  He will welcome me. HEINRICH     Did I say I would kill you?  I will shoot you in the leg, and clap you in irons. KIENZE     You ... would do that!? HEINRICH     Ya.  [jaunty]  But, I am not one to hold a man back.  If you wish to go, go.  I will even run the hatches for you. KIENZE     You... why? HEINRICH     Further, I will watch and make sure he finds you, once you are adrift. KIENZE     [plaintive] But you will not come with me? HEINRICH     Nein.  I have things yet to accomplish. KIENZE     Very well.  But he will not be pleased with you if you ignore his summons. MUSIC     IN AND UNDER   SCENE 36. HEINRICH     [canned] After I saw that Kienze was no longer in the boat I threw the searchlight around the water.  I wished to ascertain whether the water-pressure would flatten him as it theoretically should, or whether the body would be unaffected, like those extraordinary dolphins. I did not, however, succeed in finding my late companion, for, owing to the abruptness of the change of angle, a wire was disconnected, which necessitated a delay of many minutes for repairs. MUSIC     OUT   SCENE 37. SOUND     SEARCHLIGHT OUT [NOTE: "HIS ECHO" REFERS TO HEINRICH'S OWN WORDS FROM EARLIER IN THE SHOW - COMING BACK TO HAUNT HIM.  THEY WILL BE PUT IN IN POST, AND HEINRICH SHOULD NOT REALLY PAY ANY ATTENTION TO THEM AS HE SPEAKS, AS THEY AREN'T ACTUALLY CONVERSING.] HEINRICH     [slow sigh] HIS ECHO     [very quiet] He would have had a better chance if he let go and braved the waves.  HEINRICH     Alone.  To survive until I die.  [deep breath] Very well.  SOUND      FOOTSTEPS HIS ECHO     [very quiet]  One more victim of the unjust war of aggression... SOUND      PULL OUT BOOK, OPEN AND PAGE THROUGH.   SCENE 38. MUSIC IN HEINRICH     [canned] I must be careful how I record my awakening today, for I am unstrung, and much hallucination is necessarily mixed with fact. Psychologically my case is most interesting, and I regret that it cannot be observed scientifically by a competent German authority. HIS ECHO     If you were a solid Prussian like myself-- HEINRICH     Upon opening my eyes my first sensation was an overmastering desire to visit the rock temple that stood before the now-stationary U29. HIS ECHO     No, no. I have not the sentimental-- HEINRICH     a desire which grew every instant, yet which I automatically sought to resist. MUSIC OUT   SCENE 39. SOUND     VAGUE CHANTING, DEEP UNDER. HEINRICH     [Waking suddenly]  Heh?  What is this? SOUND     SCRABBLE OUT OF BED, CROSS ROOM HEINRICH     Light?  Where is this coming from?  [wild hope] Could it be? SOUND     RUN THROUGH SHIP HEINRICH     Where?  Another ship?  [muttered] Port side, port side.  Aha! [sound of triumph turns into sound of dismay]  HIS ECHO     Superstitious rubbish.  HEINRICH     It is alight! MUSIC UP   SCENE 40. HEINRICH     It is well that the reader accept nothing which follows as objective truth, for the events are necessarily the subjective and unreal creations of my overtaxed mind. HIS ECHO     It is all a trick of the light. HEINRICH     When I attained the conning tower I found the sea in general far less luminous than I had expected. But the door and windows of the undersea temple hewn from the rocky hill were vividly aglow with a flickering radiance, as from a mighty altar-flame far within. HIS ECHO     I will have none of this wild peasant superstition on my ship! HEINRICH     The light showed that the friezes which covered the front of the temple, clearly carved from the solid rock of the cliffside, depicted many repetitions of but one face - the same face as the ivory bust which Kienze had carried back to the sea with him. HIS ECHO     --this one is much too young and handsome. HEINRICH     The rest is very simple. HIS ECHO     --a god. HEINRICH     My impulse to visit and enter the temple has now become an inexplicable and imperious command which ultimately cannot be denied. HIS ECHO     This soft-headedness is not good.  HEINRICH     My own German will no longer controls my acts, and volition is henceforward possible only in minor matters. HIS ECHO     Do not show weakness.  It makes you sound unreliable. HEINRICH     When first I saw that I must go, HIS ECHO     That is most unfortunate. HEINRICH     I prepared my diving suit, helmet, and air regenerator for instant donning, HIS ECHO     --have an embolism on the way up, and ride the waves as a corpse.  HEINRICH     and immediately commenced to write this hurried chronicle in the hope that it may some day reach the world. HIS ECHO     This is your part.  HEINRICH     I shall seal the manuscript in a bottle and entrust it to the sea as I leave the U-29 forever. HIS ECHO     Better to die as a man than live as a beast. HEINRICH     I have no fear, not even from the prophecies of the madman Kienze. HIS ECHO     None but a weakling would surrender HEINRICH     What I have seen cannot be true, and I know that this madness of my own, will at most lead only to suffocation when my air is gone. HIS ECHO     you should have the will to face death. HEINRICH     The light in the temple is a sheer delusion, and I shall die calmly like a German, in the black and forgotten depths. HIS ECHO     Why waste angst? HEINRICH     This demoniac laughter which I hear as I write comes only from my own weakening brain. HIS ECHO     blackness.  Precisely what is between your ears. HEINRICH     So I will carefully don my suit and walk boldly up the steps into the primal shrine, that silent secret of unfathomed waters and uncounted years. HIS ECHO     If you wish to go, go.  END  

Joel Thurm is a well-known casting director, producer, and photo artist by profession. He is known as a casting director for the TV projects such as The Rocky Horror Picture Show (1975), Grease (1978), Airplane! (1980), and Altered States (1980).Many people are curious about Joel Thurm's married life or wife's details. Apart from this, his fans and followers raised questions about his sexuality. After his sexual relationship with the veteran actors Rock Hudson and Robert Reed (both of them are gay), it is possibly determined that Joel Thurm is also gay. However, Joel hasn't opened up about his sexuality in the public media.Nevertheless, the 80-year-old casting director might also be a married personality and also has a wife. Although, he hasn't disclosed his relationship status yet. Joel is more focused on his career and tries to avoid the public media, and wants to stay as a low-key personality.Joel Thurm has an approximate net worth of about $2 million. He earned this fortune from his professional career as a casting director and as producer. Joel worked as a casting director for more than 28 TV projects. However, he has seemed inactive in the showbiz industry since 2004. Furthermore, Joel also makes money from his other business venture.Joel Thurm began his career shortly after completing his education. He started working as a casting director in 1975. He made his showbiz industry debut in 1975 as a casting director for the TV Mini-Series, The Lives of Benjamin Franklin, for one episode. In the same year, Joel was also seen as a casting director in The Rocky Horror Picture Show.His breakthrough role came in 1975, when he worked as a casting director in the TV Series, The Bob Newhart Show for all 20 episodes, created by David Davis and Lorenzo Music until 1976.Some of his notable works are Starsky and Hutch (1977-1978), King of the Gypsies (1978), Moment by Moment (1978), Taxi (1979), The New Odd Couple (1983), Something to Live for: The Alison Gertz Story (1992), OP Center (1995), It's My Party (1966), In My Sister's Shadow (1997), Beggars and Choosers (1999), The Lot (1999), Popstars (2001), I Dream (2004), and others.Joel Thurm also worked as a producer for the TV projects such as The Boy in the Plastic Bubble (1976), Angie (1979), Nell Carter... Never Too Old to Dream (1986), Nell Carter Special (1986), Morton's by the Bay (1989, Marked for Murder (1993), and It's My Party (1996), and others. Become a member at https://plus.acast.com/s/unimpressedpodcast. https://plus.acast.com/s/unimpressedpodcast. Hosted on Acast. See acast.com/privacy for more information.

Joe, Matt, and Bobby are back at it again. With special guest Ilya Laksin, Esq. Talking about Immigration, Mel Gibson, and adult circumcision. Bobby does a great Boston accent, Joe and Ilya battle in a lawyer-off, and Matt asks the hard questions. Valentine's Day, Gypsies, Nepal, the more things change, the more they stay the same. This episode has it all!Follow Ilya on Instagram: @ilyalaksin2203 Support us on Patreon for bonus content:https://www.patreon.com/JustSomeLockerRoomTalk?fan_landing=trueTwitter:@L0ckerRoomTa1k Instagram:@justsomelockerroomtalkSpotify:https://open.spotify.com/show/38on5DGj89NZiyhinsPdrK?si=Xze0Edt5S_SrBYsR9BKUwA&nd=1iTunes:https://podcasts.apple.com/us/podcast/locker-room-talk/id1611681173Joe GormanTwitter and Instagram: @JoeWGorman Matt MaranTwitter and Instagram: @REALMatmaranBobby SheehanTwitter and Instagram: @BobbySheehanLOL

From Kathi: Hello Fellow Patriots!! Thank you for this very exciting opportunity, My Name is Kathi and I am a 30+ year Card Reader and Astrologer.  When I was about 14 years old, I had learned how to read playing cards from the “Gypsies” that lived in the neighborhood.  They wanted to teach me because they said that they did not have any daughters to learn from them, and that they knew I had a “gift” Over the years I have placed some different means to the cards that they had taught me as I started to see different patterns and energies shift.  I am an Energy reader, so once I have made a connection to you, I am able to read just what is coming towards you within the next 30 to 60 days.  I have only been practicing astrology for 15 years: specializing in Birt Charts. I also preform Chakra Clearings for people who have blockages within the 7 Chakras, I actually specialize in PTSD. I also do dream interpretations, along with home cleansings, healings, and pendulum work. In my business I have a tell it like it says approach, (Cards don't lie) I find that clearly communicating what is coming your way is the best practice.  I also do not time readings, they are done when they are done. (Most take an hour or so).  I also never limit questions, most people do not have many once the reading is over, but I will let you ask until you have all the information you want / need. I do private 1 on 1 readings as well as house party readings too!  I have and will do family reunions, kids parties (with some exceptions) bachelorette, and even graduations and anniversary parties. My Fees are based on the work that I actually do and give discounts for referrals, group rates and of course, Veterans. You can find me on Facebook at: Kathi's private reading page * Look for the redheaded mermaid. https://m.facebook.com/groups/662926404353819/  

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Six more 70's movie reviews for you, and they are more disconnected than usual. It doesn't matter but usually our movie reviews have at least a lil thread that combines at least some of them, consciously or unconsciously. I guess 2 of these do, gawd. Anyway let's start. First up is (Cotton comes to Harlem 1970), an early blaxploitation film that is as weird as the term blaxploitation. We are ongoing in our efforts to unpack the term Blaxploitation, but we try to unpack this movie here today as best we can. Next up (The Great white hope 1970). Here we have Darth Vader and Jane Alexander telling the true story of boxer Jack Johnson. Enter racism. Movin along we have Gravedigger and Coffin back in (Come back Charleston blue 1972) I guess it's a sequel? Next is (Burnt offerings 1976). Karen Black, Oliver Reed, Rocky's coach, and the mighty mom from Butterflies are free, are coming and going from a house stuck in the twilight zone. Almost done, and here's (Sea gypsies 1978- AKA Shipwrecked) A hippie takes his two kids, a reporter, and a stowaway on a sailing trip around the world. I bet it's gonna go great. Ending things today we begin our journey through the 3 70's film of German Director Margarethe Von Trotta. We oddly go 2/1/3 soooooo here's (The second awakening of Christina Klages 1978), and I can at least say here that the films premise is a ten outta ten for me. Thanks for listening folks. Please give us all the stars and write us a nice review about how you are glad there's three 70's movies scientists out there plugging away, and doin their best to make sense out the giant acid trip that was most 70's movies.

Jazz is sick with Havana Syndrome, so it's up to 3 time DTP champion Dr. Daniel Daughhetee to pick up the slack. In this gap week between Criminal Minds: Evolution, we decided to cover "Bloodline", aka the Most Racist Episode Of Anything Ever. A family of Romanians--or Gypsies, pick your poison--go around murdering parents and kidnapping their daughters for forced arranged marriage. Criminal Minds, which is not a tolerant program to begin with, stoops to new lows here. Ronnie and Daniel go behind the bigotry to name and shame the creatives as well as announce the death of a beloved conservative entertainer (nearly) live. Oh, and since "Bloodline" takes place in Alabama, Ronnie gets to poke fun at Daniel's home state quite a bit.

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021) shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche—a genre known best for its energetic, guitar-centric swing tunes—is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In Django Generations: Hearing Ethnorace, Citizenship, and Jazz Manouche in France (U Chicago Press, 2021), Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

On this episode of the Sofa King Podcast, we talk about a unique group called the Bajau people. They are a group of sea nomads who have genetically evolved to be the perfect sea-goers. Their bodies have adapted to hold their breath insane amounts of time and regulate oxygen in ways no other human can. Some have held their breath for as long as 13 minutes and have dived as deep as 200 feet with no ill effects. They live on boats and coral reefs, call no nation their home, and some spend 60% of their day underwater. Their ancient legends about “The wave that eats people” let them survive the great Tsunami with no casualties. If you want to hear about the real-life Waterworld, give this one a listen. Visit our Sources: https://www.bbc.com/news/science-environment-43823885 https://en.wikipedia.org/wiki/Sama-Bajau https://www.nationalgeographic.com/science/article/bajau-sea-nomads-free-diving-spleen-science https://www.theatlantic.com/science/archive/2018/04/bajau-sea-nomads-diving-evolution-spleen/558359/ https://isemph.org/Sea-Nomads#:~:text=The%20Bajau%20are%20a%20seafaring,day%20hunting%20underwater%20for%20fish. https://authentic-indonesia.com/blog/8-unique-facts-of-the-bajau-indonesia-sea-gypsies-tribe/ (88) Bajau - the real waterworld people - YouTube (88) Meet the ocean nomads of the South Pacific | 60 Minutes Australia - YouTube https://www.cbsnews.com/news/sea-gypsies-saw-signs-in-the-waves/  

We know it's been a while - we plan to get more consistent in 2023. Jane had a baby and Linda still has chronic fatigue and was preparing for some time off from work. Since we covered the episode of 'The 10th Kingdom' wherein a group of 'gypsies' were portrayed as bad guys, Linda's been promising to research the Roma and record a minisode. Well, here it is! Learn about the history and struggles of the Roma people. WARNING: it's a huge bummer. Sources: Craig TM; www.opensocietyfoundations.org (they have a great video on YouTube); the European Roma Rights Centre (errc.org); the Health and Human Rights Journal (hhrjournal.org); The YouTube channel Chronicles of India; www.LiveScience.com; and the Roma Activist, Grassroots Coordinator, Community Organizer Nicu Dumitru. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

* Episode 150! * Report on overall numbers and metrics for the show. * 1,849 minutes of content created in 2022. * 68,104 plays over the life of the show since launch. * Average plays per episode: 180, Audience Size: 298. * Single largest day: Oct 11, 2022 – 272 plays. * Listener service and location breakdown. * EDSG YouTube numbers: 575 views, 35 subscribers. * ListenNotes.com – EDSG is in top 5% of podcasts. * Proposed outline of pre-written Earthdawn adventures. * Dan describes his very rough challenge rating method. * Night of Desire: Earthdawn Journal 5 * Search for Wisdom (aka Runvir's Tomb): Earthdawn Journal 2 (or Redbrick Shard) * Days of Vengeance: Earthdawn Journal 5, sequel to Night of Desire * The Kiss: Written by Earthdawn designer Greg Gorden * Into the Breach: Included with 2nd Edition GM Screen. * Mists of Betrayal: FASA * Heritance: Earthdawn Journal 9 * Turnabout is Fair Play: Earthdawn Publishing Trust * Terror in the Skies: FASA * Rescue: Earthdawn Journal 2 * Gypsies in the Palace: Earthdawn Publishing Trust * Arcane Mutterings: Earthdawn Publishing Trust * Ardanyan's Revenge: RedBrick Ltd * Infected: FASA * By the Book: Shadis Magazine 48 * Parlainth Adventures: FASA * Woodland Whispers: Earthdawn Publishing Trust * T'skrang Trouble: Earthdawn Journal 3 * And the Path Shall be Perilous: Earthdawn Journal 7 * Blackout: RedBrick Shard (also in Throal Adventures from FASA) * Pale River: RedBrick Shard (also in Throal Adventures) * Burning Desires: RedBrick * Betrayal's Sting: RedBrick Shard * Tournament Troubles: RedBrick Shard * Prelude to War: FASA * Barsaive at War: Living Room Games * Shattered Pattern: FASA * Barsaive in Chaos: Living Room Games * Blades: FASA * Frameworks from Ork Nation of Cara Fahd: FASA * Kratas Adventures: RedBrick Third Edition * Josh offers suggestions to tweak the list. * Thank you for your support so far, and we've got more on the way! Find and Follow: Email: edsgpodcast@gmail.com YouTube: https://www.youtube.com/channel/UCeoifzUuBjez9V6wnvzom3g Twitter: @EDSGPodcast Josh on Twitter: @LoreMerchant Dan on Twitter: @boice_voice Get product information, developer blogs, and more at www.fasagames.com FASA Games on Facebook: https://www.facebook.com/fasagamesinc FASA Games Discord Channel: https://discord.gg/uuVwS9u Earthdawn Guild Facebook Group: https://www.facebook.com/groups/earthdawnguild Earthdawn West Marches: https://discord.gg/hhHDtXW

Part 6 --- The Circus is Back in Town and the Govt Gypsies & Balance-Sheet Billionaires Think YOU are the Clowns. We Show You How to Close Out this Corrupt Collection of Freaks.SIMPLY PUT -- We Cannot Say Much of the 'Really Good Stuff' on HereThat's Why We Created Paine.tvYOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***GET the Intel that's Too Hot For Anywhere Else atPAINE.TVCONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Part 7 --- The Circus is Back in Town and the Govt Gypsies & Balance-Sheet Billionaires Think YOU are the Clowns. We Show You How to Close Out this Corrupt Collection of Freaks.SIMPLY PUT -- We Cannot Say Much of the 'Really Good Stuff' on HereThat's Why We Created Paine.tvYOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***GET the Intel that's Too Hot For Anywhere Else atPAINE.TVCONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Part 5 --- The Circus is Back in Town and the Govt Gypsies & Balance-Sheet Billionaires Think YOU are the Clowns. We Show You How to Close Out this Corrupt Collection of Freaks.SIMPLY PUT -- We Cannot Say Much of the 'Really Good Stuff' on HereThat's Why We Created Paine.tvYOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***GET the Intel that's Too Hot For Anywhere Else atPAINE.TVCONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Part 4 -- The Circus is Back in Town and the Govt Gypsies & Balance-Sheet Billionaires Think YOU are the Clowns. We Show You How to Close Out this Corrupt Collection of Freaks.SIMPLY PUT -- We Cannot Say Much of the 'Really Good Stuff' on HereThat's Why We Created Paine.tvYOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***GET the Intel that's Too Hot For Anywhere Else atPAINE.TVCONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Part 3 -- The Circus is Back in Town and the Govt Gypsies & Balance-Sheet Billionaires Think YOU are the Clowns. We Show You How to Close Out this Corrupt Collection of Freaks.SIMPLY PUT -- We Cannot Say Much of the 'Really Good Stuff' on HereThat's Why We Created Paine.tvYOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***GET the Intel that's Too Hot For Anywhere Else atPAINE.TVCONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Part 2 -- The Circus is Back in Town and the Govt Gypsies & Balance-Sheet Billionaires Think YOU are the Clowns. We Show You How to Close Out this Corrupt Collection of Freaks.SIMPLY PUT -- We Cannot Say Much of the 'Really Good Stuff' on HereThat's Why We Created Paine.tvYOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***GET the Intel that's Too Hot For Anywhere Else atPAINE.TVCONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Part 1 -- The Circus is Back in Town and the Govt Gypsies & Balance-Sheet Billionaires Think YOU are the Clowns. We Show You How to Close Out this Corrupt Collection of Freaks.SIMPLY PUT -- We Cannot Say Much of the 'Really Good Stuff' on HereThat's Why We Created Paine.tvYOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***GET the Intel that's Too Hot For Anywhere Else atPAINE.TVCONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE ***...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dolen & the Stardust Gypsies was written and first recorded for radio by Lance Daniels in the 1970s. The original scripts and tapes were rescued from dusty boxes by Lance's daughter, Jo, and re-voiced by Lance's son, Paul, and granddaughter, Ellie. Music is by Lance's son, Michael. Lance died of Leukaemia some 30 years ago and so this has been something of a labour of love for the family to re-make.Hear the complete series for free and without advertising on your favourite podcast app or click https://podfollow.com/dolen Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

11am-12pm Breakfast Delivered Straight to your Door the SHORTT Way Galway Comedy Festival  New book about Gypsies, Roma and Travellers  == 'Galway Talks with Keith Finnegan' broadcasts every weekday morning from 9am on Galway Bay FM.

Burns & Allen followed by The Adventures of Phillip Marlowe

Verena Meier is a doctoral student at the research center on antigypsyism at the University of Heidelberg with research focusing on historical antigypsyism and antisemitism, National Socialism, minority history as well as the history of ideas. She has worked for the Documentation and Cultural Center of German Sinti and Roma, the Topography of Terror and the Saxony-Anhalt State archives, and volunteered for the Domari Society of Gypsies in Jerusalem. Learn more at www.sintiundroma.org/en/

Paulina and Jez had a terrifying good time chatting with Pierce and Raquel Horvath of Dead Scared Entertainment, a Romani-run horror media company. Detroit born and living in Chicago, Pierce and Raquel Horvath are Hungarian Slovak Bashalde Romungre raised within Roma tradition with a modern twist.Growing up, Pierce was a passionate bat biologist-to-be, but as he fostered his love for Roma music, mid-century modern art, and classic horror films while studying animation at DePaul University he found he'd be fusing these elements into the nostalgic, spooky, Roma production company that is never short of his favorite nocturnal animal. When it came to Raquel, where there was music, she was dancing. Throughout her formative years, she would go on to learn many styles of dance while performing and competing. During her time at DePaul University as well, she decided to learn business and entrepreneurship, making her ready to tackle everything necessary to concoct the perfect monster that became Dead Scared Entertainment.You can follow Dead Scared Entertainment at https://www.deadscaredentertainment.com/ and listen to their podcast O Verda Darano (The Wagon of Fear) wherever you find podcasts. Follow them on Instagram, TikTok, YouTube, and Twitter. The crushes this episode are Rita Hayworth and Fairuza Balk. Thank you for listening to Romanistan podcast.You can find us on Instagram @romanistanpodcast, and on Facebook under the same name, and on Twitter @romanistanpodWe started a Ko-fi fundraiser to help us expand. Our goal is to continue releasing 2 episodes a month, including our advice column, and we would eventually like to expand so we can produce content by other Romani & Sinti creators. We are hoping to cover production costs, like paying for our hosting site, website, editing and producing, and all the rest. We would love it if you could contribute and spread the word. The link, Ko-fi.com/romanistan, is in our bio on Instagram, and will be in the show notesPlease rate, review, and subscribe. It helps us so much. If you would like to advertise with us, email us at romanistanpodcast@gmail.com. We offer sliding-scale for Romani, Sinti & related businesses, so reach out!You can find Jess on Instagram @jezmina.vonthiele, and you can find Jess' vintage and curiosities shop Evil Eye Edit on Instagram @evileyeedit & Etsy.You can find Paulina Verminski on Instagram @_paulina_v_ and at https://romaniholistic.com/. Follow Paulina's store, Romani Holistic, in Corona Del Mar, CA, on Instagram @romaniholistic Romanistan is hosted by Jessica Reidy and Paulina VerminskiConceived of by Paulina VerminskiEdited by CherubWith Music by Viktor PachasAnd Artwork by Elijah Vardo

Episode SummaryErin and Rachel spend a lot of time wringing their hands over the mature themes in The Hunchback of Notre Dame (1996), Disney's animated film about a bell ringer in medieval France. The film underperformed at the box office; apparently, a children's movie about adult sexuality is a bell you can't un-ring. The depictions of disability and race induce further cringing that the dazzling music and visuals can't completely overcome. Join the party! Episode BibliographyAstier, H. (2014, February 13). France's unwanted Roma. BBC News. https://www.bbc.com/news/magazine-25419423Bahr, S. (2021, June 22). 'The Hunchback of Notre Dame' at 25: 'The Most R-Rated G You Will Ever See'. The New York Times. Retrieved September 5, 2022, from https://www.nytimes.com/2021/06/21/movies/the-hunchback-of-notre-dame.htmlBarnes, B. (2022, June 10). After a Political Storm, Gay Days Return to Disney. The New York Times. Retrieved September 15, 2022, from https://www.nytimes.com/2022/06/10/style/disney-gay-days.htmlBarrère, J. (2022, May 18). Victor Hugo: French writer. Britannica. https://www.britannica.com/biography/Victor-Hugo/Bates, J. (1996, July 23). Quasi-Successful: Do 'Hunchback' Results Signal a Sea Change? LA Times. Retrieved September 3, 2022, from https://web.archive.org/web/20160423120423/http://articles.latimes.com/1996-07-23/business/fi-27142_1_disney-animationBiography.com Editors. (2014, April 2). Victor Hugo Biography. Biography. https://www.biography.com/writer/victor-hugoBracken, H. (2022, September 7). The Hunchback of Notre Dame. Britannica. https://www.britannica.com/topic/The-Hunchback-of-Notre-DameBruncati, D. (2020, August 27). Every Disney Renaissance Era Film, Ranked By Budget. Screen Rant. Retrieved September 22, 2022, from https://screenrant.com/disney-renaissance-films-ranked-budget/Corliss, R. (1996, June 24). CINEMA: A GRAND CARTOON CATHEDRAL. TIME. Retrieved August 30, 2022, from http://content.time.com/time/subscriber/article/0,33009,984745,00.htmlCoyne, S. M., & Whitehead, E. (2008). Indirect aggression in animated Disney films. Journal of Communication, 58, 382 –395. doi:10.1111/j.1460-2466.2008.00390.xDavis, A. M. (2007). Good girls and wicked witches: Women in Disney's feature animation. John Libbey & Company.Davis, A. M. (2014). Handsome heroes and vile villains: Men in Disney's feature animation. John Libbey & Company.Dickerson, M. (1996, June 13). Baptist Group Rebukes Disney, Urges Boycott. Los Angeles Times. https://web.archive.org/web/20150217063632/http://articles.latimes.com/1996-06-13/news/mn-14682_1_southern-baptistDreamloverMimi. (2017, February 7). The Making of the Hunch Back of Notre Dame (1996). YouTube. Retrieved September 18, 2022, from https://www.youtube.com/watch?v=efEUV7cDsB0Ebert, R. (1996, June 21). The Hunchback of Notre Dame movie review (1996). RogerEbert.com. Retrieved August 30, 2022, from https://www.rogerebert.com/reviews/the-hunchback-of-notre-dame-1996The Editors of Encyclopedia Britannica. (2022, August 24). Roma. Britannica. https://www.britannica.com/topic/RomFadner, D. (1998). Disney Gets Religion. Conference: National Convention of the American Academy of Religion. https://www.researchgate.net/publication/342182716_DISNEY_GETS_RELIGIONFeng, Y., & Park, J. (2015). Bad seed or good seed? A content analysis of the main antagonists in Walt Disney- and Studio Ghibli-Animated Films. Journal of Children and Media, 9(3), 368-385. doi: 10.1080/17482798.2015.1058279galaxies352. (2017, April 9). Disney Hunchback Of Notre Dame Premier Parade 6/19/96 WVUE-TV New Orleans, La. YouTube. Retrieved September 22, 2022, from https://www.youtube.com/watch?v=0_ukR__9brYGaul, L. (1996, June 14). Disney Made Effort to Follow Hugo's Novel. Beaver County Times. https://news.google.com/newspapers?nid=2002&dat=19960614&id=NBsvAAAAIBAJ&pg=3659,3055615Gerard, J. (1996, June 17). The Hunchback of Notre Dame. Variety. Retrieved September 5, 2022, from https://variety.com/1996/film/reviews/the-hunchback-of-notre-dame-4-1200446001/Graham, J. A., Yuhas, H., & Roman, J. L. (2018). Death and coping mechanisms in animated Disney movies: A content analysis of Disney films (1937–2003) and Disney/Pixar films (2003–2016). Social Sciences, 7, 199-213. doi: 10.3390/socsci7100199The Hunchback of Notre Dame (1996 film). (n.d.). Wikipedia. Retrieved August 30, 2022, from https://en.wikipedia.org/wiki/The_Hunchback_of_Notre_Dame_(1996_film)Lacroix, C.  (2004). Images of animated others: The orientalization of Disney's cartoon heroines from The Little Mermaid to The Hunchback of Notre Dame. Popular Communication, 2(4), 213-229.Lavender, N. (2021, November 16). The Untold Truth Of Disney's The Hunchback Of Notre Dame. Looper. Retrieved September 3, 2022, from https://www.looper.com/459159/the-untold-truth-of-disneys-the-hunchback-of-notre-dame/Maslin, J. (1996, June 21). FILM REVIEW;The Dancing Gargoyles Romp and Wisecrack. The New York Times. Retrieved September 5, 2022, from https://www.nytimes.com/1996/06/21/movies/film-review-the-dancing-gargoyles-romp-and-wisecrack.htmlMcCullough, D. (1994, October 8). DISMISSAL STUNS MAGIC KINGDOM. Deseret News. Retrieved August 30, 2022, from https://www.deseret.com/1994/10/9/19135475/dismissal-stuns-magic-kingdomMcGill, C. M. (2018). "This burning desire is turning me to sin": The intrapersonal sexual struggles of two Disney singing villains. Queer Studies in Media & Popular Culture, 3(1), 27-49. doi: 10.1386/qsmpc.3.1.27_1Ness, M. (2016, March 3). When Gargoyles Interrupt Your High Concept Film: Disney's The Hunchback of Notre Dame. Tor.com. Retrieved September 5, 2022, from https://www.tor.com/2016/03/03/when-gargoyles-interrupt-your-high-concept-film-disneys-the-hunchback-of-notre-dame/Norman, F. (2008, November 11). Toon Tuesday: Looking Back on Disney's "The Hunchback of Notre Dame” - Part Un. Jim Hill Media. Retrieved September 15, 2022, from https://jimhillmedia.com/toon-tuesday-looking-back-on-disneys-the-hunchback-of-notre-dame-part-un/Norman, F. (2011, November 18). Toon Tuesday: Looking Back on Disney's "The Hunchback of Notre Dame" - Part Deux. Jim Hill Media. Retrieved September 15, 2022, from https://jimhillmedia.com/toon-tuesday-looking-back-on-disneys-the-hunchback-of-notre-dame-part-deux/Pavlovic, D. (2019, May 23). Romani or Gypsies? TEDxBocconiU. https://www.youtube.com/watch?v=gTlQMOdeW_8Pinskey, M. I. (1996, July 27). Hunchback Finds Favor with Activists. Herald Journal, B10.Pinskey, M. I. (2004). The Hunchback of Notre Dame (1996): The House of the Lord. In The Gospel According to Disney (pp. 167-174). Westminster John Knox Press. https://www.google.com/books/edition/The_Gospel_According_to_Disney/YGtbYTyulb4C?hl=en&gbpv=0The Pope meets the press: Media coverage of the clergy abuse scandal. (2010, June 11). Pew Research Center. https://www.pewresearch.org/religion/2010/06/11/the-pope-meets-the-press-media-coverage-of-the-clergy-abuse-scandal/Rauzi, R. (1996, June 24). Children Seem Unfazed by 'Hunchback' Themes. Los Angeles Times. Retrieved September 5, 2022, from https://www.latimes.com/archives/la-xpm-1996-06-24-ca-18114-story.htmlSpiegel, J. (2021, June 21). 'The Hunchback Of Notre Dame' At 25: An Oral History Of Disney's Darkest Animated Classic. Slash Film. Retrieved September 5, 2022, from https://www.slashfilm.com/581592/hunchback-of-notre-dame-oral-history/Strauss, B. (1996, June 23). Courting Controversy? Disney's Newest Animated Feature, 'Hunchback Of Notre Dame,' Takes On Sensitive Adult Issues. The Spokesman-Review. Retrieved September 15, 2022, from https://www.spokesman.com/stories/1996/jun/23/courting-controversy-disneys-newest-animated/Swardson, A. (1997, January 2). Quelle Horreur! French Give Thumbs-Up To Disney's `Hunchback'. The Seattle Times. Retrieved September 5, 2022, from https://archive.seattletimes.com/archive/?date=19970102&slug=2516743Thompson, A., & Karger, D. (1996, June 21). Disney's ''Hunchback'' has murder, lust, and corruption. Entertainment Weekly. Retrieved September 3, 2022, from https://ew.com/article/1996/06/21/disneys-hunchback-has-murder-lust-and-corruption/Thompson, A., & Karger, D. (1996, June 21). Playing a Hunch. Entertainment Weekly. https://web.archive.org/web/20141205135730/http://www.ew.com/ew/article/0,,293046,00.htmlTowbin, M. A., Haddock, S. A., Zimmerman, Z. S., Lund, L. K., & Tanner, L. R.  (2003). Images of Gender, Race, Age, and Sexual Orientation in Disney Feature-Length Animated Films. Journal of Feminist Family Therapy, 15(4), 19-44. doi: 10.1300/J086v15n04_02Trousdale, G., & Wise, K. (Directors). (1996). The Hunchback of Notre Dame [Film]. Walt Disney Pictures.Ward, A.R. (2002). Mouse morality: The rhetoric of Disney animated film. University of Texas Press.Whitney, C. R. (1997, January 5). A Disney Cartoon Becomes a Morality Play for Paris. The New York Times. Retrieved September 3, 2022, from https://www.nytimes.com/1997/01/05/world/a-disney-cartoon-becomes-a-morality-play-for-paris.html

How do we as followers of Jesus's teachings navigate the disenfranchised as well, as a number of other taboo people groups. Is the gospel still the answer and if so, why do we feel the need to add to or neglect Jesus's teachings in this area?

TVC 590.4: Ed welcomes back Oscar nominee and three-time Golden Globe Award-nominated actor Eric Roberts (Runaway Train, King of the Gypsies, Star 80, Less Than Perfect, The Righteous Gemstones). Eric co-stars with Lana Wood and a very talented newcomer named Jeff Yazzie in Dog Boy, a comedy drama about the unlikely friendship between a self-absorbed Hollywood actress whose best days are behind her and a young Navajo slacker who skateboards through life—literally—despite being pursued by the mob. The latest film from the husband-and-wife production team of Paul and Patty Winters, Dog Boy is now available for streaming on device on Flixwest, a fast-growing commercial-free streaming channel that particularly specializes in independent films. You can find Flixwest on IOS, Roku, your Amazon Fire Stick, and any web connected device. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

He's back ladies & gentlemen! The League of Ireland's favourite Yorkshireman, Jon Brier is back on this week's podcast alongside Kieran Burke & Gary Reilly.  Cork City winger, James Doona tells us about past regrets, challenges he's faced on and off the pitch at Cork City and why he hopes his rewards are coming soon.  The lads reflect on Bohs win in the Dublin derby and ponder the Gypsies next move and if we now have a title race on our hands. Roddy Collins comments on Bohs "politics" is covered while speaking of politics, the FAI v Sligo Rovers suspension case is covered at length.  All this and much more on another cracking edition of the League of Ireland's most in-depth podcast! 

Long before singer Cyrille Aimée spent any time on the road she was already a citizen of the world. She grew up in a small French town, Samois-sur-Seine, but says that she never felt fully French. She never felt fully any one thing. Her mother is Dominican, her father is French, and she says that “when you're a mixed culture, you're kind of your own thing.” Samois-sur-Seine is very small but in the 1990s of Cyrille's childhood it did have one claim to fame: it was the town where the legendary french gypsy jazz guitar player Django Reinhardt retired, and hosts an annual jazz festival in his honor. Musicians and fans alike descend on the town for the festival, and because of the ties to Django, some of them are Gypsies (Manouche in French). Riding her bike through town one summer day, Cyrille had a chance encounter with some young Gypsy kids that would lead to a friendship that ultimately changed her life. The Manouche taught her to sing, taught her to perform, taught her to improvise and see improvisation as not only a musical pursuit but also a kind of life goal. To watch Cyrille perform is to watch a kind of ecstatic manifestation. She's very physically engaged, her whole body gets involved when she sings. She says that music was originally an extension of dance for her and that since her instrument is her body, dance is still a vital part of her singing. That physicality is part of her charm. She's a natural performer. But she's also an accomplished singer, dance or no dance. She is naturally in tune with the language of jazz, bebop, funk, and soul. She's a precise and fluent scat singer, technical and soulful at the same time. Cyrille won awards and accolades along the way - she won the Montreux Jazz Festival Competition in 2007,was a finalist in the Thelonious Monk International Jazz Competition in 2010, and she won the Sarah Vaughan International Jazz Competition in 2012. Her 2019 album Move On featured cover versions of songs by Stephen Sondheim. The album was praised by Sondheim himself and one of its songs, "Marry Me a Little", was nominated for a Grammy Award. And a live stream video of Cyrille on Emmet Cohen's YouTube channel has racked up millions of views.   Aimée released two albums in 2021,  Petit Fleur recorded with Adonis Rose and the New Orleans Jazz Orchestra, and I'll Be Seeing You, a collection of duets with her long time friend the guitarist Michael Valeanu. When she's not on the road, Cyrille has been living between New Orleans and Costa Rica. We spoke about growing up in Samois-sur-Seine, what she learned from the Gypsies, moving to America, how to learn new languages, the importance of confronting and overcoming fear for creativity, how to be honest with the audience, and where to find good cheese.

The infamous SS Nazi Doctor Josef Mengele, known as the Angel of Death, ruled Auschwitz.Subscribe to Lullaby on Stitcher - https://bit.ly/3emWoboSubscribe on Apple Podcasts - https://apple.co/3qbD1VaSubscribe Everywhere else - https://bit.ly/36pBN2sHe condemned thousands of innocent Jews, Gypsies, and other Prisoners of War to their deaths. His goal was to create the perfect German Aryan Master Race by performing horrific medical experiments on 3000 twins. Sweet Dreams... Lights Out... Official Website: www.LullabyTheFearPodcast.comTwitter: https://mobile.twitter.com/lullabythefear Instagram: https://www.instagram.com/lullabythefearpodcast/?hl=en~~~~~~~~~~~Indie Drop-InAll content legally licensed from the original creator. Thank you to Lullaby: The Fear Podcast for the great episode. You can find Indie Drop-In at https://indiedropin.comHelp Indie Drop-In support indie creators by buying us a coffee!https://buymeacoffee.com/indiedropinBrands can advertise on Indie Drop-In using Patreonhttps://patreon.com/indiedropinTwitter: https://twitter.com/indiedropinInstagram: https://instagram.com/indiedropinFacebook: https://facebook.com/indiedropinAny advertising found in this episode is inserted by Indie Drop-In and not endorsed by the Creator.If you would like to have your show featured, go to http://indiedropin.com/creators~~~~~~~~~~~

The Electric Flag was the brainchild of guitarist Mike Bloomfield, and Long Time Comin' was their debut studio album.  The core of the band was formed by Mike Bloomfield on guitar, Barry Goldberg on keyboards, and Buddy Miles (soon to be with Jimmy Hendrix's Band of Gypsies) on drums.  Additionally, Nick Gravenites would sing lead on several tracks.With "Long Time Comin'" Bloomfield wanted to create a sound that would feature what he called "American music."  He would draw inspiration from many sources including traditional country, gospel, and R&B, and the result would be a fusion of rock, jazz, R&B, and an early use of a horn section.  The sound would be described as an "eclectic approach toward American musical."  Critics would complement the group's sound on this album, though it would be somewhat of a failure commercially on the charts.The Electric Flag would put out two albums in 1968, but would break up shortly before their second album was released.  Drug use affected the group's ability to perform, and Bloomfield would later admit that heroin caused his playing to fall apart.Wayne brings us this classic of southern rock. WineThe full name for this song is actually "Drinking Wine Spo-Dee-O-Dee," and is a traditional boogie-woogie blues song about a famous and not very good wine called Thunderbird ("the word is Thunderbird").  It was a creation of E & J Gallo Winery, made cheap with a high alcohol content.Texas Buddy Miles sings lead on this blues track.  This sound would find traction with later groups like ZZ Top and Stevie Ray Vaughan. Bloomfield's playing was inspired by groups he heard in Chicago, and he would become known as one of the premier guitarists in rock music.  "I Wouldn't be an American, If it wasn't for Texas."Killing Floor This is an updated take on the Howlin' Wolf blues classic.  It has a blues feel but with an upbeat tempo.  The Electric Flag would cover this long before Led Zeppelin would make it the basis for "The Lemon Song."  Jimmy Hendrix would play this at the 1967 Monterey Pop Festival.Groovin' Is Easy This is the "hit single" from the album.  The sound is different from the other blues-based tracks, and is a bit more time stamped for the age.  "Groovin's so easy, baby, if you know how.  You don't have to keep yourself forever slavin' - go out an chase whatever you're cravin'." ENTERTAINMENT TRACK:main theme from the animated series “Speed Racer”While it would become a staple of after school and Saturday morning cartoons in the United States, this animated series was crossing the finish line of its run in Japan in this month.   STAFF PICKS:Summertime Blues by Blue CheerRob starts off our staff picks with a cover of Eddie Cochran's song from 1958.  Blue Cheer was a psychedelic band out of San Francisco, and considered a precursor to the heavy metal band.  Many consider this song to be the first heavy metal song to chart in the U.S.  They were considered the loudest group in concert at the time.I Thank You by Sam & Dave Bruce takes a soulful turn with the final Sam & Dave release on Stax records, as Stax ended a distribution deal with Atlantic Records (from which Sam & Dave were on loan).  It hit number 3 on the Billboard Pop Singles chart.  ZZ Top would cover this song later on, and it would be their second top 40 hit after "Tush."(Sittin' On) The Dock of the Bay  by Otis Redding Brian's staff pick is another song from Stax records, and the last single from Otis Redding.  Redding died in a plane crash 3 days after recording this song.  It was Redding's biggest hit, and the first posthumous release in the U.S.  It hit number 1 on the Billboard Hot 100.Are You Gonna Be There (At the Love In) by The Chocolate WatchbandWayne closes out the staff picks in fine hippie style with  this band out of Los Altos, California.  The Chocolate Watchband started in 1965 and would break up by 1970.  Supposedly Jerry Garcia plays guitar on this track. The story is that when the band's guitarist was too high to play, Garcia was in another studio in the same building, and sat in. INSTRUMENTAL TRACK:(Sittin' On) The Dock of the Bay by King Curtis & the Kingmakers"Dock of the Bay" was so popular that it featured both Redding and this instrumental version on the charts.

2934 – August 25, 2022 – GYPSIES TRAMPS & THIEVES – “The wicked borrow and do not repay, but the righteous give generously.” Psalm 37:21. I think that means that the righteous give of their own money, NOT someone else’s. And since the government has NO MONEY of it’s own they must be giving away yours, which makes them wicked ... The post GYPSIES TRAMPS & THIEVES appeared first on CSC Talk Radio.

Dani is the founder of 808 Viral and owner of BOSS Hawaii. We talked about her Gypsy ethnic background (I didn't know that was an ethnicity) and how she dedicated a time in her life to lead activism to protect Gypsies from racial injustice and stereotyping. She shared the crazy story about how she met […]

This week on the show I am very pleased to welcome Sasha Savinov – from Grateful Gypsies! Sasha and I talk about his life as a digital nomad with his wife Rachel, he takes me on the journey of how this lifestyle started for them and explains what a digital nomad is. He talks about where his passion for teaching came from and what it's like to teach English as a second language online. Sasha talks about travel hacking – what it is and how they use it to trek across the globe.He shares what inspired the name Grateful Gypsies, where in the world he'd love to visit, and offers some advice to anyone that is considering this type of lifestyle. We talk about what 2020 and the pandemic was like for them, and the experience of being a Summer Camp Music Festival Camp Counselor since 2017. Of course, we talk about Umphrey's McGee, his first show back in 2003, his favorite place to see UM, the song he would love to hear them cover, his favorite thing about being a part of this amazing community and so much more! Check the show notes for where you can find this week's guest online! Support DATC Media Company on Patreon: https://www.patreon.com/Datcmediacompany?fan_landing=trueAsking for a Friend review: https://droppedamongthiscrowdpod.weebly.com/dropped-among-this-crowd-blogDATC Media: 2022 Highlights Playlist: https://2nu.gs/3AMjTDDDATC Media: 2022 HOF Contenders Playlist: https://2nu.gs/3xUFLJZEpisode 198: https://droppedamongthiscrowdpod.simplecast.com/episodes/fools-paradise-dumb-tourWhere you can find this week's guest online:Website: https://www.gratefulgypsies.com/linkinbio/Instagram: https://www.instagram.com/gratefulgypsies/Facebook: https://www.facebook.com/gratefulgypsiesTwitter: https://twitter.com/GratefulGypsiesDATC Media Company: https://datcmediacompany.comEmail: droppedamongthiscrowdpod@gmail.comShow Instagram page: https://www.instagram.com/droppedamongthiscrowdpodcast/Show Facebook Page: https://www.facebook.com/droppedamongthiscrowd/Twitter: https://twitter.com/amongthiscrowdBook a conversation on "Dropped among this Crowd":https://datcmediacompany.com/contact/ola/services/be-on-dropped-among-this-crowd-podcast"Dropped Among This Crowd" Official Store: https://datcmediacompany.com/datc-storeUmphrey's McGee Tour Dates:https://www.umphreys.com/tour/Where you can listen to the Umphreys "WOW" Show: https://the-umphreys-wow-show-with-rob-turner-jimmy-knowledge.simplecast.com/Wall of "WOW": https://datcmediacompany.com/wall-of-%22wow%22-wednesdays

Today on Too Opinionated, we continue with our interviews with the cast of the hit audio drama The Last Saturday Night by visiting with actor Eric Roberts. Eric is joined by his wife, actress Eliza Roberts. Eric is an Academy Award nominee for his role in Runaway Train, and a three-time Golden Globe nominee for Runaway Train, Star 80, and King of the Gypsies. He is also known for his roles in Best of the Best, Lovelace, The Cable Guy, The Pope of Greenwich Village, Greys Anatomy, Doctor Who, Justice League and The Righteous Gemstones. Eliza is known for her work on Animal House, Dr. Who, Lois and Clark, and Midnight Caller. Want to watch: YouTube Meisterkhan Pod (Please Subscribe)Check out the Website: Meisterkhan.com Listen to The Last Saturday Night: https://electracast.com/podcast/the-last-saturday-night/

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Vol XXII. Auschwitz Angel of Death, Josef Mengele The infamous SS Nazi Doctor Josef Mengele known as the Angel of Death ruled Auschwitz. He condemned thousands of innocent Jews, Gypsies and other Prisoners of War to their deaths. His goal was to create the perfect German Aryan Master Race by performing horrific medical experiments on 3000 twins. Sweet Dreams... Lights Out...

Welcome back townies to Bingetown's coverage of Peaky Blinders Season 6 with Episode 4, Sapphire. Tommy kicks us off with his old gangster ways by seeking revenge for the Gypsies responsible for the blue sapphire curse that took his daughter's life. While grieving for loss of his child, Tommy must face his opponents and keep his compure in order to ensure business goes smoothly. At the very end, we get some disturbing news about our antihero, Mr. Shelby. If you want to know what it is and what our reaction is, catch it all here. If you like what you heard, catch us at www.bingetowntv.com and follow us on Instagram and Twitter @bingetowntv ! If you'd like to support the podcast/channel, we now have a Patreon page! Our Patreon offers exclusive podcast episodes, video interviews with the stars of your favorite shows, plus more! https://www.Patreon.com/bingetowntv!

What's your favorite pastime (go with us here, we know that lots of us don't even know the concept of having time for a pastime).  Imagine being able to really spend time in your garden, instead of just hoping it will rain or the rabbits don't eat your bounty. Think about being able to carve out some time to write–really giving some thought and intention to your journal or that spark of a story you've been thinking about for awhile. Taking time for what matters to us, aside from doing the things we need to (and yes, that matters to) is like nurturing our soul–it helps us become fuller versions of ourselves, and in the end, those respites make us better at our “real” jobs/routine/duties. That's why this series is coming in hot–to help us make that step in allowing that outside passion to become a part of our weekly schedule. For the Love of Favorite Pastimes delves into how to identify the things that spark joy and passion in our days, and give ourselves space for them–no matter how small that space may be. And to kick this whole series off, we are thrilled to welcome friends of the show and Jen, Amie and Jolie of the Junk Gypsies. Now, we know you all know who these ladies are and we can't believe it's taken so long to get them on the show. But, now that we have them, we will be talking to them about their side passion (and how that turned into a full time business), how they pursued it with nothing more than a pick-up truck and a dream, and how their love for other people's junk turned into a treasured way of life.    * * * Thank you to our sponsors!   Chime | Get started today at chime.com/forthelove.    Pair | Get glasses as unique as you are, starting at just $60 at paireyewear.com/forthelove to get 15% off your pfirst urchase.   Jen Hatmaker Book Club | Join our sisterhood in nerdiness today at jenhatmakerbookclub.com  Thought-Provoking Quotes   "Between college and retirement, there's a mindset that if you don't really like it, you'll just work until retirement anyway. And we were like 'No, we don't want that,' and money was never the most important thing. It was always about quality of life." - Amie Sikes    “We don't have a plan of what's going to happen next year. But we stay open-minded and we don't stay too rigid as we try to bend and flow and be open to opportunities. But we've said no to some that we probably should have said yes to, and yes to some we probably should have said no to.” - Jolie Sikes    “We started doing dressers and side tables and eventually working our own aesthetic into it. So all of a sudden, it's becoming not just a booth where you buy furniture, but your customers are buying into our lifestyle.”  - Amie Sikes    “The way we dress, the way we decorate, it's a reflection of you so why would it be boring? You're not boring. So if your home is a reflection of you and your adventures and personality, why would you want everything the same color?” - Jolie Sikes  Junk Gypsies LinksWebsite Facebook  Instagram   Connect with Jen!Jen's website Jen's InstagramJen's Twitter Jen's FacebookJen's YouTube

Emil and Kelly Mitchell, known as the King and Queen of the Gypsies, have long been a part of Meridian, Mississippi lore but their story is complicated and often misunderstood    Want more Southern Mysteries?  Hear the Southern Mysteries show archive and immediately access exclusive content when you become a patron of the show.  Join now at patreon.com/southernmysteries   Connect Website: southernmysteries.com Facebook: Southern Mysteries Podcast Twitter: @southernpod_ Instagram: @explorethesouth Email: southernmysteriespodcast@gmail.com    Episode Sources Queen of the Gypsies Dead. Our Southern Home. February 10, 1915 The Rose Hill Company of Players. Facebook Queen Kelly Mitchell: A Slice of Meridian's History. The Meridian Star. December 26, 2007 Historical tales abound within Rose Hill Cemetery. Today in Mississippi  Fortune telling ordinance challenged. The Meridian Star. February 13, 2011 Meridian, Mississippi, the Queen City. The Meridian Star. October 28, 2011 Why Being 'Gypped' Hurts The Roma More Than It Hurts You. Code Switch NPR. December 30, 2013 Roma Culture: Customs, Traditions & Beliefs. Live Science. November 26, 2018 Meridian's Royal Past. Mississippi FolkLife. February 4, 2019   Episode Music Alone with my Thoughts by Esther Abrami  Licensed under Creative Commons Theme Song “Dark & Troubled” by Pantherburn. Special thanks to Phillip St Ours for permission for use