Podcasts about Happy Birthday

After the Vulgarian National Anthem and before heading to Lost Wages, the Fat one pre-recorded today's LITTLE show which allowed him to catch up on many of the So-So questions that he received. You have until midnight (EST) to submit them… you know you want to. Happy National Chocolate Caaaaaaaake Day.

I am Rolf Claessen and together with my co-host Ken Suzan I welcome you to Episode 172 of our podcast IP Fridays. Today's interview guests are Co-Founder & CEO of Inception Point AI, Jeanine Whright, and Mark Stignani, who is Partner & Chair of Analytics Practice at Barnes & Thornburg LLP. https://www.linkedin.com/in/jeaninepercivalwright https://www.linkedin.com/in/markstignani Inception Point AI But before the interview I have news for you: The Unified Patent Court (UPC) ruled on Feb 19, 2026, that specialized insurance can cover security for legal costs. This is vital for firms, as it eases litigation financing and lowers financial hurdles for patent lawsuits by removing the need for high liquid assets to enforce rights at the UPC. On Feb 12, 2026, the WIPO Coordination Committee nominated Daren Tang for a second six-year term as Director General. Tang continues modernizing the global IP system, focusing on SMEs, women, and digital transformation. His confirmation in April is considered certain. An AAFA study from Feb 4 reveals 41% of tested fakes (clothing/shoes) failed safety standards. Many contained toxic chemicals like phthalates, BPA, or lead. The study highlights that counterfeiters increasingly use Meta platforms to sell unsafe imitations directly to consumers. China's CNIPA 2026 report announced a crackdown on bad-faith patent and trademark filings. Beyond better examination quality, the agency will sanction shady IP firms and stop strategies violating “good faith” to make China’s IP system more ethical and innovation-friendly. Now, let's hear the interview with Jeanine Whright and Mark Stignani! How AI Is Rewiring Media & Entertainment: Key Takeaways from Ken Suzan's Conversation with Jeanine Wright and Mark Stignani In this IP Fridays interview, Ken Suzan speaks with two repeat guests who look at the same phenomenon from two angles: Jeanine Wright, Co-Founder & CEO of Inception Point AI, as a builder of AI-native entertainment, and Mark Stignani, Partner and Chair of the Analytics Practice at Barnes & Thornburg LLP, as a lawyer advising clients who are trying to use AI without stepping into a legal (or ethical) crater. What emerges is a clear picture: generative AI is not just “another tool.” It is rapidly becoming the default infrastructure for creative work—while the rules around ownership, consent, and accountability lag behind. 1) What “AI-generated personalities” really are (and why that matters) Jeanine's company is not primarily “cloning” real people. Instead, Inception Point AI creates original, fictional personalities—characters with backstories, ambitions, and evolving arcs—then deploys them into the world as podcast hosts and content creators (and eventually actors and musicians). Her key point: the creative work still starts with humans. Writers and creators define the concept, tone, audience, and story engine. What AI changes is speed, cost, and iteration—and therefore what is economically feasible to produce. 2) The “generative content pipeline” isn't a magic button A recurring misconception Ken raises is the idea that someone “pushes a button” and content pops out. Jeanine explains that real production looks more like a hybrid studio: A creative team defines character, voice, format, and storyline. A technical team builds what she calls an “AI orchestration layer” that combines multiple models and tools. The “stack” differs by format: the workflow for a long-form audio drama is different from a short-form beauty clip. This matters because it reframes AI content not as a single output, but as a pipeline decision: which tools, which data sources, which QA, and which governance steps are used—and where human review happens. 3) The biggest legal questions: origin, liability, ownership, and contracts Mark doesn't name a single “top issue.” He describes a cluster of problems that repeatedly show up in client conversations: Training data and “origin story” Clients keep asking: Can I legally use AI output if the tool was trained on copyrighted works? Even if the output looks new, the unease is about whether the tool's capabilities are built on unlicensed inputs. Liability for unintended harm Mark flags risk from AI content that inadvertently infringes, defames, or carries bias. The legal exposure may not match the creator's intent. Ownership and protectability He points to a big gap: many jurisdictions are still reluctant to grant classic IP rights (copyright or patent-style protection) to purely AI-generated material. That creates uncertainty around whether businesses can truly “own” what they produce. Old contracts weren't written for AI A final, practical point: many agreements—talent contracts, author clauses, data licenses—predate generative AI and simply don't address it. That leads to disputes about scope, permissions, and—crucially—indemnities. 4) Are we at a tipping point? The “gold rush” vs. “next creative era” views Jeanine frames AI as “the world's most powerful creative tool”—comparable to previous step-changes like animation, special effects, and CGI. For her, the strategic implication is simple: creators who learn to use AI well will expand what they can build and test, faster than ever. Mark's metaphor is more cautionary: he calls the moment a “gold rush” where technology is sprinting ahead of law. Courts are getting flooded with foundational disputes, while legislation is fragmented—he notes that states may move faster than federal frameworks, and that labor agreements (e.g., union protections) will be a key pressure point. 5) Democratization: more creators, more niche content, more experimentation One of the most concrete themes is access. Jeanine argues AI will: Lower production barriers for independent filmmakers and storytellers. Reduce the need for “hit-making only” economics that dominate Hollywood. Make micro-audience content commercially viable. Her example is intentionally niche: highly localized, specialized content (like a “pollen report” for many markets) that would never have made financial sense before can now exist—and thrive—because the production cost drops and personalization scales. 6) Likeness, consent, and “digital performers”: what happens when AI resembles a real actor? Ken pushes into a sensitive area: what if someone generates a performance that closely resembles a living actor without consent? Mark outlines the current (imperfect) toolbox—because, as he emphasizes, most laws weren't built for this scenario. He points to practical claims that may come into play in the U.S., such as rights of publicity and false endorsement-type theories, and notes that whether something is parody or “too close” can become a major fault line. Jeanine explains her company's operational approach: They focus on original personalities, designed “from scratch.” They build internal checks to avoid misappropriating known names, likenesses, or recognizable identities. If they ever work with real people, the model would be licensing their likeness/voice. A subtle but important business point also appears here: Jeanine expects AI-native characters themselves to become licensable assets—meaning the entertainment economy may expand to include “celebrity rights” for fully synthetic personalities. 7) Ethics: the real line is “deception,” not “AI vs. human” The ethical core of the conversation is not “AI is bad” or “AI is good.” It's how AI is used—especially whether audiences are misled. Mark highlights several ethical risks: Misuse of tools to manipulate faces and content (“AI slop” and political misuse). Displacement of creative workers without adequate transition support. A concern that AI often optimizes toward “statistical averages,” potentially flattening originality. Jeanine agrees ethics must be designed into the system. She describes regular discussions with an ethicist and emphasizes a principle: transparency. Her company discloses when content or personalities are AI-generated. She argues that if people understand what they're engaging with and choose it knowingly, the ethical problem shifts from “AI exists” to “Are we tricking people?” Mark adds a real-world warning: deepfakes are now credible enough to enable serious fraud—he references a case-like scenario where a synthetic video meeting deceived an employee into authorizing a payment. The point is clear: authenticity and verification are no longer optional. 8) The “dead actor” hypothetical: legal permission vs. moral intent Ken raises a provocative scenario: an actor's estate authorizes an AI-generated new performance, but the actor opposed such technology while alive. Neither guest offers a simplistic answer. Jeanine suggests that even if the estate holds legal rights, a company might choose to avoid such content out of respect and because the ethical “overhang” could damage the storytelling outcome. She also notes the harder question: people who died before today's capabilities may never have been able to meaningfully consent to what AI can now do—raising questions about how we interpret legacy intent. Mark underscores the practical contract problem: many rights are drafted “in perpetuity,” but that doesn't automatically settle the ethical question. 9) Five-year forecast: “AI everywhere,” but audiences may stratify Ken closes with a prediction question: in five years, how much entertainment content will significantly involve AI—and will audiences care? Jeanine predicts AI becomes the default creative layer for most content creation. Mark is slightly more conservative on the percentage, but adds an important nuance: the market will likely stratify. Low-cost, high-volume content may become saturated with AI, while premium segments may emphasize “human-made” as a differentiator—especially if disclosure norms become standard. Bottom line for business leaders and creators This interview lands on a pragmatic conclusion: AI will change how content is made at scale, and the competitive edge will go to teams that combine creative taste, operational discipline, and legal/ethical governance. If you're building, commissioning, or distributing content, the questions you can't dodge anymore are: What's the provenance of the tools and data you rely on? Who is responsible when output harms, infringes, or misleads? What rights can you actually claim in AI-assisted work? Do your contracts and disclosures match the new reality? Ken Suzan: Thank you, Rolf. We have two returning guests to the IP Friday’s podcast. Joining me today is Janine Wright and Mark Stignani. Our topic for discussion, how is AI transforming the media and entertainment industries today? We look at the issues from differing perspectives. A bit about our guests, Janine Wright is a seasoned board member, CEO, global COO and CFO. She’s led organizations from startup to a $475 million plus revenue subsidiary of a public company. She excels in growth strategy, adopting innovative technologies, scaling operations and financial management. Janine is a media and entertainment attorney and trial litigator turned technologist and qualified financial expert. She is the co-founder and CEO of Inception Point AI, a growing company that is paving new ground with AI-generated personalities and content through developing technology and story. Mark Stignani is a partner with Barnes & Thornburg LLP and is based in Minneapolis, Minnesota. He is the chair of the data analytics department with a particular emphasis on artificial intelligence, machine learning, cryptocurrency and ESG. Mark combines the power of artificial intelligence and machine learning with his skills as a corporate and IP counsel to deliver unparalleled insights and strategies to his clients. Welcome, Janine and Mark to the IP Friday’s podcast. Jeanine Whright: Thank you. Thank you. Thank you so much for having me and fun to be back. It feels nostalgic to be here. Ken Suzan: That’s right. And you both were on the program. So it’s fantastic that you’re both back again. So our format, I’m going to ask a question to Janine and or Mark and sometimes to both of you. So that’s going to be how we proceed. Let’s jump right in. Janine, your company creates AI-generated actors. For listeners who may not be familiar, can you briefly explain what that means and what’s now possible that wasn’t even two years ago? Jeanine Whright: Sure. Yeah, we are creating AI-generated personalities. So new characters, new personalities from scratch. We design who these personalities are and will be, how they will evolve. So we give them complex backstories. We give them hopes and dreams and aspirations. We every aspect of them, their families, how they’re going to evolve. And in the same way that, say, you know, Disney designs the character for its next animated feature or, you know, an electronic arts designs a character for its next major video game. We are doing that for these personalities and then we are launching them into the world as podcast hosts, content creators on social platforms like YouTube, Instagram and TikTok. And even in the future, you know, actors in feature length films, musicians, etc. Ken Suzan: Very fascinating. Mark, from your practice, what’s the single biggest legal question or dispute you’re seeing clients wrestle with when it comes to AI and media creation? Mark Stignani: Well, I think that, you know, it’s not just one thing, it’s like four things. But most of them tend to be kind of the origin story of AI data or AI tools that they use because, you know, but for the use of AI tools trained on copyrighted materials, the tools wouldn’t really exist in their current form. So a lot of my clients are wondering about, you know, can I legally use this output if it’s built upon somebody else’s IP? The second ask, the second flavor of that is really, is there liability being created if I take AI content that inadvertently infringes or defames or biases there? So there’s the whole notion of training bias from the training materials that comes out. The third phase is really, you know, can I really own this? Because much of the world does not really give IP rights into AI-generated inventions, copyrighted materials. It’s still kind of a big razor. Then at the end of the day, you know, if it’s an existing relationship, does my contract even contemplate this? So everything from authors contracts on up to just use of data rights that predate AI. Ken Suzan: And Janine and Mark, a question to both of you. How would you describe where we are right now in the AI revolution in media and entertainment? Are we approaching a tipping point? And if so, what are the things we need to watch for? Jeanine Whright: Yeah, I definitely think that we’re at a phase where people are starting to come to the realization that AI is the world’s most powerful creative tool. But that, you know, storytelling and point of view is what creates demand and audiences. And AI doesn’t threaten or change that. But it does mean that as people evolve in this medium, they’re very likely going to need to adopt, utilize and figure out how to hone their craft with these AI-generated content and these AI-generated toolings. So this is, you know, something that people have done certainly in the past in all sorts of ways in using new tools. And we’ve seen that make a significant change in the industry. So you look at, you know, the dawn of animation as a medium. You look at use of special effects, computer-generated imagery in the likes of Pixar. And this is certainly the next phase of that evolution. But because of the power of the tool and what will become the ubiquity of the tool, I think that it’s pretty revolutionary and all the more necessary for people to figure out how to embrace this as part of their creative process. Ken Suzan: Thank you, Janine. Mark, your thoughts? Mark Stignani: Yeah, I mean, I liken this to historically to like the California gold rush right now, because, you know, the technology is so far outpaced in any of the legal frameworks that are available. And so we’re just trying to shoehorn things in left and right here. So, I mean, the courts are beginning to start to engage with the foundational questions. I don’t think they’re quite there yet. I just noticed Anthropic got sued again by another group of people, big music group, because of the downloaded works they’ve done. I mean, so the courts are, you know, the courts are certainly inundated with, you know, too many of these foundational questions. Legislatively, hard to tell. I mean, federal law, the federal government is not moving uniformly on this other than to let the gold rush continue without much check and balance to it. Whereas states are now probably moving a lot faster. Colorado, Illinois, even Minnesota is attempting to craft legislation and limitations on what you can do with content and where to go with it. So, I mean, the things we need to watch for any of the fair use decisions coming out here, you know, some of the SAG-AFTRA contract clauses. And, you know, again, the federal government, I just, you know, I got a big shrug going as to what they’re actually going to come up with here in the next 90 to 100 days. So, but, you know, I think they’ll be forced into doing something sooner than later. Ken Suzan: Okay, let’s jump into the topic of the rise of generative content pipelines. My first question to Janine. Studios and production companies are now building what some call generative content pipelines. This is where AI systems produce everything from scripts to visual effects to voice performances. What efficiencies and creative possibilities does this unlock for the industry? Jeanine Whright: Yeah, so this is quite a bit of what we do. And if I could help pull the curtain back and explain a little bit. Ken Suzan: That’d be great. Jeanine Whright: Yeah, there’s this assumption that, you know, somebody is just sitting behind a machine pushing a button and an out pops, you know, what it is that we’re producing. There’s actually quite a bit of humans still in the loop in the process. You know, we have my team as creators. The other half of my team is the technologists. And those creators are working largely at what we describe as the the tip of the sphere. So they’re, of course, coming up with the concepts of who are these personalities? What are these personalities, characters, backgrounds going to be a lot of like rich personality development? And then they’re creating like what are the formats? What are the kind of story arcs? What is the kinds of content that this this character wants to tell? And what are the audiences they’re desiring to reach and what’s most going to resonate with them? And then what we built internally is what we refer to as an AI orchestration layer. So that allows us to pull from basically all of the different models and then all of these different really cool AI tools. And put those together in such a way and combine those in such a way that we can have the kind of output that our creative team envisions for what they want it to be. And at the end of the day, what you what the stack looks like for, say, a long form audio drama, like the combination of LLMs that we’re going to use in different parts of scripting and production and, you know, ideating and all of that. And the kinds of tooling that we use to actually make it and get it to sound good and have the kinds of personality characteristics that we want to be in an authentic voice for a podcast is going to be different than the tech stack and the tool stack that we might use for a short form Instagram beauty tip reel. And so there’s a lot of art in being able to pull all of these tools together to get them to do exactly what you want them to do. But I think the second part of your question is just as interesting as the first. I mean, what is what possibilities is this unlocking? So of course you’re finding efficiencies in the creative production process. You can move faster. You can do things were less expensive, perhaps, and you were able to do it before. But on the creator side, I think one thing that hasn’t been talked about enough is how it is really like blown wide the aperture of what creators can do and can envision. Traditionally, you know, Hollywood podcasting, many of these businesses that become big businesses have become hit making businesses where they need to focus on a very narrow of wide gen pop content that they think is going to get tens of millions, hundreds of millions in, you know, fans and dollars in revenue for every piece of content that they make. So the problem with that is, is that it really narrows the kinds of things that ultimately get made, which is why you see things happening in Hollywood, like the Blacklist, which is, you know, this famous list of really exceptional content that remains unpredited, unproduced, or why you see things like, you know, 70 to 80% of the top 100 movies being based on pre-existing IP, right? Because these are such huge bets that you need to feel very confident that you’re going to be able to get big, big audiences and big, big dollars from it. But with AI, and really lowering the barrier to entry, lowering the costs of production and marketing, the experimentation that you can do is really, really phenomenal. So, you know, my creative team, if they have an idea, they make it, you know, they don’t have to wring their hands through like a green lighting process of, you know, should we, shouldn’t we, like we, we can make an experiment with lots of different things, we can do various different versions of something. We can see what would this look like if I placed it in the 1800s, or what if I gave this character an Australian accent, and it’s just the power of being able to have this creative partner that can ideate with you and experiment with you at rocket speed. With the creators that are embracing it, you can see how it is really fun for them to be able to have this wide of a range of possibility. Ken Suzan: Mark, when you hear about these generative pipelines, what are the immediate red flags or concerns that come to mind from a legal standpoint? How about ethics underlying all of this? Well, Mark Stignani: that was not, that’s the number one red flag because I mean, we are seeing not just that in the entertainment industry, but it literally at political levels, and the kind of the phrase, to turn the phrase AI slop being generated, we’re seeing, you know, people’s facial expressions altered. In some cases, we’re seeing AI tools being misused to exploit various groups of individuals and genders and age groups. So I mean, there’s a whole lot of things ethically that people are using AI for that just don’t quite cover it. Especially in the entertainment industry, I mean, we’re looking at a fair amount of displacement of human workers without adequate transition support, devaluation of the creative labor. I mean, the thing though that I’m always from a technical standpoint is AI is simply a statistical average of most everything. So it kind of devalues the benefit of having a human creator, a human contribution to it. That’s the ethical side. But on the legal side, I see chain of title issues. I mean, because these are built on very questionable IP ownership stages, I mean, in most of these tools, there has been some large copying, training and taking of copyrighted materials. Is it transformational? Maybe. But there’s certainly not a chain of title, nor is there permission granted for that training. I mentioned SAG-AFTRA earlier, I think there’s a potential set of union contract aspects to this that if you know many of these agreements and use sub-licenses for authors and actor agreements, they weren’t written with AI in mind. So that’s another red flag. And also I just think in indemnification. So if we ultimately get to a point where groups are liable for using content without previous license, then who’s liable? Is the tool maker the liable group or the actual end user? So those are probably my top four red flags. But I think ethics is probably my biggest place because just because we can do something from an ethical standpoint doesn’t mean we should. Jeanine Wright: Yeah, if I can respond to both of those points. I mean, one from a legal perspective, just to be very clear, I mean, we are always pulling from multiple different models and always pulling from multiple different sources. And we even have data sources that we license or use for single source of truth on certain pieces of information. So we’re always pulling things together from multiple different sources. We also have built into our process, you know, internal QAing and checking to make sure that we’re not misappropriating the name or likeness of any existing known personality or character. We are creating original personalities there. We design their voice from scratch. We design their look from scratch. So we’re not on our personality side, we’re not pulling or even taking inspiration from existing intellectual property that’s already out there in creating these personalities. On the ethical side, I agree. I mean, when we came out of stealth, we came out of stealth in September. There was certainly quite a bit of backlash from folks in my—I previously co-founded a company in the audio space. I mean, there’s been many rounds of layoffs in audio and in many other parts of the entertainment industry. So I’m very sensitive to the feedback around, like, is this job displacement? I mean, I do think that the CEO of NVIDIA said it right when he said, you’re likely not going to lose your job to AI, but you will lose your job to somebody who knows how to use AI. I think these tools are transforming the way that content is made and that the faster that people can embrace this tooling, the more likely they’re going to be having the kinds of roles that they want in, you know, in content creation and storytelling in the future. And we are hiring. I’m hiring AI video creators, AI audio creators. I’m hiring AI developers. So people who are looking for those roles, I mean, please reach out to me, we would love to work with you and we’d love to grow with you. We also take the ethics very seriously. For the last few months or so, I’ve met regularly with an ethicist, we talk about all sorts of issues around, you know, is designing AI-generated people, you know, good for humanity? And what about authenticity and transparency and deception, and how are we in building in this space going to avoid some of the problems that we’ve seen with things like social media and other forms of technology? So we keep that very top of mind and we try to build on our own internal values-based system and, you know, continue to elevate and include the humanity as part of the conversation. Ken Suzan: Thank you, Janine. Janine, some argue that AI content pipelines will level the field for filmmaking, giving independent creators access to tools that were once available only to major studios. Is that the future you envision? Jeanine Wright: I do think that with AI you will see an incredible democratization of access to technology and access to these capabilities. So I do think, you know, rise of independent filmmakers, you won’t have as many people who are sitting on a brilliant idea for the next fantastic script or movie that just cannot get it made because they will be able to with these tools, get something made and out there, at least to get the attention of somebody who could then decide that they want to invest in it at a studio kind of level in the future. The other thing that I think is really interesting is that I think, you know, AI will empower more niche content and more creators who can thrive in micro-communities. So it used to be because of this hit generation business model, everything needed to be made for the masses and a lot of content for niche audiences and micro-communities was neglected because there was just no way to make that content commercially viable. But now, if you can leverage AI—we make a pollen report podcast in 300 markets, you know, nobody would have ever made that before, but it is very valuable information, a very valuable piece of content for people who really care about the pollen in their local community. So there’s all sorts of ways that being able to leverage AI is making it more accessible both to the creator and to the audience that is looking for content that truly resonates with them. Ken Suzan: Mark, let’s talk about the legal landscape right now. If someone creates an AI-generated performance that closely resembles a living actor without their consent, what legal recourse does that actor have? Mark Stignani: Well, I mean, I think we can go back to the OpenAI Scarlett Johansson thing where, you know, if it’s simply—well, the “walks like a duck, quacks like a duck” type of aspect there. You know, I think it’s pretty straightforward that they need to walk it back. I mean, the US doesn’t have moral rights, really, but there’s a public visage right, if you will. And so, one of the things that I find predominantly useful here is that these actors likely have rights of publicity there, we probably have a Lanham Act false endorsement claim, and you know, again, if the performance is not parody, and it’s so close to the original performance, we probably have a copyright discussion. But again, all of these laws predate the use of AI, so we’re going to probably see new sets of law. I mean, we’re probably going to see “resurrection” frameworks, we’ll probably have frameworks for synthetic actors and likenesses, but the rules just aren’t there yet. So, unfortunately, your question is largely predictive versus well-settled at this point. Ken Suzan: Janine, your company works with AI actors. How do you navigate the questions of consent and likeness compensation when creating digital performers? Jeanine Wright: I mean, if we—so first of all, if we were to work with a person who is an existing real-life person or was an existing real-life person, then we would work with them to license their name and likeness or their voice or whatever aspects of it we were going to use in creating content in partnership with them. Not typically our business model; we are, as I said, designing all of our personalities from scratch and making all of our content originally. So, we’ve not had to do that historically. Now, you know, the flip side is: can I license my characters as if they’re similar to living characters? Like will I be able to license the name and likeness and voice of my AI-generated personalities? I think the answer is yes and we’re already starting to do that. Ken Suzan: Let’s just switch gears into ethics and AI because I find this to be a really fascinating issue. I want to look at a hypothetical. And this is to both of you, Janine and Mark: an AI system creates a new performance by a beloved actor who passed away decades ago, and the actor’s estate authorizes it, but the actor was known to have expressed opposition to such technology during their lifetime. Is this ethical? Jeanine Wright: This feels like a Gifts, Wills, and Trusts exam question. Ken Suzan: It sounds like it, that’s right. Jeanine Wright: Throwing me back to my law school days. Exactly. What are your thoughts? It’d be interesting to see like who has the rights there. I mean, I think if you have the legal rights, the question is around, you know, is it ethical to go against what you knew was somebody’s wishes at the time? I guess the honest answer is I don’t know. It would depend a lot on the circumstances of the case. I mean, if we were faced with a situation like that where there was a discrepancy, we would probably move away from doing that content out of respect for the deceased and out of a feeling that, you know, if this person felt strongly against it, then it would be less likely that you could make that storytelling exceptional in some way—it would color it in a way that you wouldn’t want in the outcome. And I feel like there’s—I mean, certainly going forward and it’s already happening—there are plenty of people I think who have name, likeness, and voice rights that they are ready to license that wouldn’t have this overhang. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I mean, again, I have to kind of go back to our property law—the Rule Against Perpetuities. You know, from a property standpoint to AI rights and likenesses—since most of the digital replica contracts that I’ve reviewed generally do talk about things in perpetuity. But if it’s not written down for that actor and the estate is doing this—is it ethical? You know, that is the debate. Jeanine Wright: Well, gold star to you, Mark, for bringing up the Rule Against Perpetuities. There’s another one that I haven’t heard for many years. This is really taking me back to my law school days. Ken Suzan: It’s a throwback. Jeanine Wright: The other thing that’s really interesting is that this technology is really so revolutionary and new that it’s hard to even contemplate now what it is going to be in a decade, much less for people who have passed away to have contemplated what the potential for it could be today. So you could have somebody who is, perhaps, a deceased musician who expressed concerns about digital representations of themselves or digital music while they were alive. But now, the possibility is that you could recreate—certainly I could use my technology to recreate—that musician from scratch in a very detailed way, trained on tons of different available data. Not just like a digital twin or a moving image of them, but to really rebuild their personality from scratch, so that they and their music could be reintroduced to totally new generations in a very respectful and authentic way to them. It’s hard to know, with the understanding that that is possible, whether or not somebody who is deceased today would or would not agree to something like that. I mean, many of them might want, under those circumstances, for their music to live on. These deceased actors and musicians could live forever with the power of AI technology. Mark Stignani: Yeah, I really just kind of go to the whole—is deep-faking a famous actor the best way to preserve them or keep them live? Again, that’s a bit more of an ethical question because the deep fakes are getting good enough right now to create huge problems. Even zoom meetings in Hong Kong where a CFO was on a call with five synthetic actors who all looked like his coworkers and they sent a big check out based upon that. So again, the technology is getting good enough to fool people. Jeanine Wright: I think that’s right, Mark, but I guess I would just highlight the same way that it always has been: the ethical line isn’t AI versus human, the ethical line is about deception. Like, are you deceiving people? And if people know what it is that they’re getting and they’re choosing to engage with it, then I think it isn’t about the power of the technology. In our business, we have elected—not everybody has—but we have elected to be AI transparent. So we tell people when they listen to our show, we include it in our show notes, we include it on our socials. Even when we’re designing our characters to be very photo-realistic, we make an extra point to make sure that people know that this is AI-generated content or an AI personality. Like, our intention is not to deceive and to be candid. From a business model perspective, we don’t need to. I mean, there’s already people who know and understand that it is AI, and AI is different than people. Because it is AI, there’s all sorts of things that you can do with it that you would not be able to do with a real person. You know, we get people who ask us on the podcast side, we get all sorts of crazy funny requests. You know, people who say, “Can I text with this personality? Can I talk to them on the phone? Can they help me cook in the kitchen? Can they sing me Happy Birthday? Can they show up at my Zoom meeting today because I think my boss would love it?” You know, all sorts of different ways that people are wanting to engage with these characters. And now we’re in the process of rolling out real-time personalities so people will be able to engage with our personalities live. It is a totally different way that people are able to engage with content, and people can, as they choose, decide what kind of content they want to engage with. Ken Suzan: Jeanine and Mark, we’re coming to the end of this podcast. I would love to keep talking for hours but we have to stay to our timetable here. Last question: five years from now, what percentage of entertainment content do you predict will involve significant AI generation, and will audiences care about that percentage? Jeanine? Jeanine Wright: I mean, I would say 99.9%. I mean, already you’re seeing—I think YouTube did a survey—that it was like 90% of its top creators said that they’re using AI as material components of their content creation process. So, I think this will be the default way that content is created. And content that is not made with AI, you know, there’ll be special film festivals for non-AI generated content, and that will be a special separate thing than the thing that everybody is doing now. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I go a little lower. I mean, I think Jeanine is right that we’re seeing, especially in the low-quality content creation and like the YouTube shorts and things like that, you know, there’s so much AI being pushed forward that the FTC even acquired an “AI slop” title to it. I do think that disclosure will become normalized, that the industries will be pushed to say when something is AI and what is not. And I think it’s very much like, you know, do you care about quality or not? If you value the human input or the human factor in this, there will be an upper tier where it’s “AI-free” or low AI assistant. I think that it’s going to stratify because the stuff coming through the social media platforms right now—I can’t be on it right now just because there’s so much nonsense. Even my children, who are without much AI training at all, find it just too unbelievable for them. So, I think it will become normalized, but I think that we’re going to see a bunch of tiers. Ken Suzan: Well, Jeanine and Mark, this has been a fantastic discussion of an ever-evolving field in IP law. Thank you to both of you for spending time with us today on the IP Friday’s podcast. Jeanine Wright: Thank you so much for having me. Mark Stignani: Appreciate your time. Thank you again.

We post SLITS ONLY for our subscribers only, it's an extra little mini Viral Podcast posted every Friday! Be sure to sub to Chelsie's Patreon ⁠https://patreon.com/chelcielynn?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_fan&utm_content=join_link ⁠ And... Paige's OF ⁠https://linktr.ee/Paigeginn?utm_source=linktree_profile_share%3Csid=f8356714-92c6-4d6c-9709-6c54c26aac52 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Before departing with The Nip and Derwood on their trip to Lost Wages, the Fat One recapped some happenings in Fat Acres and spends time with the full itinerary for the holiday. Happy National Peanut Brittle Day.

Everyone go wish David a Happy Birthday on Thursday! We won't be back until next Tuesday! David is going to run a marathon in Japan! How cool!? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Everyone go wish David a Happy Birthday on Thursday! We won't be back until next Tuesday! David is going to run a marathon in Japan! How cool!? Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's our 9th birthday and our 150th episode all at once; let's party! Host and VGHF Director Frank Cifaldi is joined by two founding board members Simon Carless and Steve Lin. This casual retrospective meanders through the foundation's origins, its mission to preserve and interpret video game history, and its growth over the years. Our three hosts highlight the foundation's journey from a small, resource-constrained organization to a robust digital library with over 100,000 unique users. The conversation covers their initial challenges, the importance of community support, and future goals, including expanding the team, increasing interpretive content, and addressing recent digital preservation issues. Thank you to everyone who supports the work we do through Patreon, individual donations and support, our annual fundraisers, and so much more. Happy Birthday!You can listen to the Video Game History Hour every other Wednesday on Patreon (one day early at the $5 tier and above), on Spotify, or on our website.See more from Simon Carless:Website: http://www.gamediscover.co/See more from Steve Lin:Bluesky: @stevelin.bsky.socialVideo Game History Foundation:Email: podcast@gamehistory.orgWebsite: gamehistory.orgSupport us on Patreon: /gamehistoryorg

We transported back to the good old days for one epic radio show… in the 1990s!We wanted to celebrate the birth of Chris Moyles and the greatest decade in one show, and we definitely did that! This extra special bonus episode features surprise celebrity messages, a special appearance from Dean ‘The Gaffers' Gaffney, aka Robbie Jackson from Eastenders and live music from Steve and Simon from Ocean Colour Scene and Nigel from Dodgy!Plus, Noel Edmunds revived his iconic game Telly Addicts, putting a 90's twist on the feature in honour of Chris' birthday. Noel is usually all about calm and positivity, and you'll see if the game reflects that...Nostalgia! Mayhem! Endless 90s references! One very big Happy Birthday to Chris Moyles!Enjoy!The Chris Moyles Show on Radio X!Weekdays 6:30am - 10am

After several “Good Morning” greetings, the Fat One jumps right in with LOTS of So-So questions, including the questionable eligibility of some which will be passed to the SSQD in San Franceeeesco. There's also a report on the semi-annual visit to El Dentisto. Happy National Irish Coffree Day.

HAPPY BIRTHDAY MORGY POO!!! Our Creepy Queen who always keeps us together, on track, hella giggly, and makes sure that everyone is taken care of, I don't know what the hell life would be like without you SO THIS WEEK IS ALL ABOUT YOU!! WHAT EVER MORGY WANTS! Love you all and our girl so much!! Get $28 off your first month of Nuuly subscription clothing rental when you sign up at https://nuuly.com with code CACBESTIES Get 20% off your first order of federally legal cannabis gummies, flower, and more at https://mood.com with code CACBESTIES at checkout. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Fat One returns with a complete recap of his weekend which included a haircut, Friday at Fatty's, medicinal chat and surprise call from the #1 Fan of the BFO for 2026. Happy National Peanut Butter Day.

It's Sherman's mom's birthday, so he and Tingle call home to wish her a happy day. Bill Sherman has other plans.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Fat One returns with an update on his bruised ankle and his R.I.C.E. treatment before beginning to natter about his weekend BUT he gets sidetracked and, instead, gives his final Book Club update on the Wonderful Wizard of Oz. Happy National Rhubarb Pie Day.https://bigfattyonline.com/wp-content/uploads/2026/02/2026-02-23.mp3

We start this episode off on a high note with a celebration of the US Men's Olympic Hockey team winning the gold and do what we can to keep the energy high as we discuss streaming and distribution models, VPNs, 40th anniversary celebrations, and the Teenage Mutant Ninja Turtles, while also celebrating the fact that it is someone from our shared past's birthday on the day we are recording. 

Happy Birthday to Tom OsrborneAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week on RadioBypass, we crank it up with a powerhouse lineup of NEW Rock and Roll music that DESERVES to be heard! Episode 410 delivers fresh fire from Corrosion Of Conformity, Generation Radio, The Rift, Sister Sin, Sun Don't Shine, Seven Year Witch, and Joel Hoekstra — proving once again that real Rock and Roll is alive, loud, and kicking.We celebrate guitar legend Doug Aldrich with two killer tracks — one from his second solo album and another from his Bad Moon Rising days. Happy Birthday, Doug!The birthday shout-outs continue as we recognize Dennis DeYoung with a track from his lastl album, and Paul Carson of Paralandra — and you KNOW we're turning that one up!We also spin a track from the debut album by Black Swan, who are set to unleash a brand-new record on February 27 — consider this your warm-up.Plus — we spotlight two bands we'll be interviewing this week: Defiant and Bad Marriage. Get ready… because the conversations are coming, and the Rock is already rolling.It's loud.It's proud.It's Rock and Roll music that DESERVES to be heard.Turn it up and press play on Episode 410 of RadioBypass!Songlist:Bad Moon Rising - Dangerous GameDoug Aldrich - Mind PunkDefiant - Ignite The SkyCorrosion Of Conformity - Gimme Some MooreBad Marriage - Second Hand SmokeGeneration Radio - Montana SkyThe Rift - LightningDennis DeYoung - The Last Guitar HeroSister Sin - Suicide HillSun Don't Shine - Power To LiveSeven Year Witch - Radio StaticJoel Hoekstra - LifelineBlack Swan - Shake The WorldParalandra - The Only One

Wir feiern und wir trauern: Aufgrund MICHAEL BAYs Geburtstag geben sich David und Daniel noch einmal das volle BAYHEM. Von BAD BOYS bis AMBULANCE, von gut bis katastrophal, von laut bis noch lauter. Daher wird es daneben auch um solche Machwerke wie 6 UNDERGROUND, den vom Streik geplagten TRANSFORMERS - DIE RACHE oder den völlig aus dem Ruder laufenden TRANSFORMERS: ÄRA DES UNTERGANGS gehen. Aber eben auch um solch spaßige oder gelungene Action-Unterhaltung wie THE ROCK – FELS DER ENTSCHEIDUNG, um die „Erpresser auf Energydrink“-Satire PAIN & GAIN, den Tatsachen-Angriffs-Thriller 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI oder das vermeintliche Endzeit-Spektakel DIE INSEL, während andere Streifen wie TRANSFORMERS, BAD BOYS 2 oder PEARL HARBOR mal mehr, mal weniger zur Sprache kommen. Aber ja, daneben müssen wir leider auch ein wenig trauern, denn in den letzten Wochen sind doch so einige Menschen von uns gegangen, die gerade für Filmfans oder eben für uns eine gewisse Bedeutung haben oder eine Erwähnung wert sind. Menschen wie James van der Beek (RULES OF ATTRACTION), Tom Noonan (MANHUNTER/ HEAT), Robert Duvall (APOCALYPSE NOW) oder Catherine O'Hara (KEVIN ALLEIN ZU HAUS), denen wir heute auch ein wenig Zeit widmen möchten. Wir hoffen, das geht so in Ordnung und dass Ihr trotzdem eine Menge Freude mit der Folge haben werdet. Bleibt ansonsten so gesund wie gut drauf und habt ein schönes Wochenende. Und dann auch noch mal happy birthday, Master of Desaster. Cheerio again. *Werbung* Weniger suchen, mehr schauen: Entdecke jetzt das riesige Angebot an Serien, Dokus und Filmen von ⁠HBO Max⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy Friday! We say Happy Birthday to Timmy, Team USA hockey has a big game today, Joshua wants his skill players to have a good hairline, a guy is eating Wendy's chili for a month, we play is Larry right, Joey Lane chats some OSU hoops with us. NBA wants some anti-tanking rules & we send people to jail.

As we look ahead to the first Marathon of the new season in Tokyo, we catch up with US long-distance great Sara Hall as she prepares to return to the Japanese capital for the 3rd time. And we'll hear from Abbott World Marathon Majors' David Macnamara with a round-up of things happening during race week. On this episode of Marathon Talk: 00:00 - Intro 01:00 - Happy Birthday, Deena! 05:40 - Tokyo Marathon Preview 16:00 - Sara Hall joins us to talk about her prep for Tokyo, her career and more. 39:11 - David Macnamara is here to tell us all about what is happening in Tokyo on race week. Links & References: Abbott World Marathon Majors Website | Facebook | Instagram | TikTok Marathon Talk Facebook | Instagram | TikTok Martin Yelling | Instagram Deena Kastor | Instagram Sara Hall | Instagram  

The Fat One closes out the week with some thoughts about the Olympics, an elderly scare, a letter from Patty Bacon and LOTS of So-So questions. Don't forget the closing ceremonies (LIVE) of the Olympics are at 2:30pm EST on Sunday. Happy National Cherry Pie Day.

David Haugh and Ruthie Polinsky were joined by Score baseball insider Bruce Levine to discuss the latest Cubs and White Sox storylines coming out of spring training in Arizona.

This week on Page 7, Jackie and our birthday boi MJ are joined by Holden McNeely to goss' 'bout MJ's going to Times Square to see "Chicago" so they can say whether Whitney sucks or not (make sure to check out "Second Helpings tomorrow!"), and then we got an extra early LIST 'bout stunt casting! MJ went to see the live "Dancing with the Stars" with their momma, Rumer Willis let us know with 3 posts that she's a single mom, with 4 jobs...but yes she still recognizes that safety net beyond what most people have, and Shia LaBeouf started a spree of chaos and reign of terror during Mardi Gras. Next we got us a list that shows some of the CRAZY SHOCKING THINGS celebrities have done! Followed by a "Blind Items P7 Greatest Hits" for our guest Holden! Then it's onto a sweet treat Jackie's Snackie's starting @ 1:11:00.370, with a not really a knockoff but kind of is MJ's Minute Munchies @ 1:19:36.327, and ending @ 1:24:32.294 PLUS SO MUCH MOOOORE!!!Want even more Page 7? Support us on Patreon! Patreon.com/Page7Podcast Subscribe to SiriusXM Podcasts+ to listen to new episodes of Page 7 ad-free.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

OpenAI is nearing a $100B+ fundraise, Meta's Mark Zuckerberg testified at a landmark social media addiction trial in California, and Andrew Mountbatten-Windsor has been arrested on suspicion of misconduct tied to Jeffrey Epstein. Legendary media investor Mario Gabelli discusses the Netflix-Paramount battle for Warner Brothers Discovery's film and media assets. Plus, as an MSG shareholder, Gabelli weighs in on MSG's exploration of splitting the Knicks and the Rangers. Two-time Nobel Prize-winning economist Joseph Stiglitz shares his perspective on President Trump's economic agenda, including the impact of tariffs on inflation and consumer sentiment. Happy Birthday, Andrew! Mario Gabelli - 12:40 Joseph Stiglitz - 27:01 In this episode: Joe Kernen, @JoeSquawk Andrew Ross Sorkin, @andrewrsorkin Cameron Costa, @CameronCostaNY Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Fat One returns with more updates on the Book Club selection before recapping his day that included salads, a biscuit and the coupon! Happy National Chocolate Mint Day.

To celebrate the Phantom's 90th birthday, we got several phans and creators to wish the Phantom a happy birthday, which we collected together for our X-Band: The Phantom Podcast, which you can watch and/or listen to here on your favourite podcast player, our YouTube Channel (https://www.youtube.com/watch?v=D-xMMwISoxM) or website www.ChronicleChamber.comSy Barry wishes the Phantom a happy 90th birthday.Happy Birthday!You can email us at chroniclechamber@gmail.com or chat with us via our social media profiles with your ideas: Facebook (https://www.facebook.com/ChronicleChamber/), Twitter (https://twitter.com/Chronicle_Tweet) and or Instagram (https://www.instagram.com/chroniclechamber/). Support the show

Last request of the season! Happy Birthday to Ryan on March 21st from Storey! 10 questions about Liverpool Football Club! Send in your requests for Thursdays to ally@allylane.comTo order your own downloadable trivia games to host you own event  and donate to our fundraiser https://www.etsy.com/shop/eventpartygames/

February is Black History Month, and here with us today on You Are What You Read is Professor of African American literature and Dean of the Graduate School at Howard University, Dr. Dana A. Williams. Dr. Williams joins us for a conversation about her book,Toni at Random: The Iconic Writer's Legendary Editorship, a biography about the great Toni Morrison and the lesser-known details of her work as a writer and an editor. Today, February 18th, happens to be Toni Morrison's birthday—and we are thrilled to pay tribute to her in this episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

#322. Happy Birthday to two of our favorite young people with such bright futures! One can look forward to the freedom of driving, another can look forward to figuring out pizza. Nowhere to go but up! There'll be some bumps along the way. Popsicles might get weird, pizza chains will lie about improvements, and lemon-lime soda will always make you think of vomit, but the mac-and-cheese and sushi at a good buffet will never disappoint. And though that mac-and-cheese may be quite temporary, your dads will always be there for you: remember that when they're in their autumn years. Be sure to visit them on the shuffle board court in Florida. Hopefully they'll still be young enough to dominate the early-bird league. Until next time, be kind to each other.FTM Merch! - https://www.teepublic.com/user/fromthemiddleLinkTree - https://linktr.ee/fromthemidpodVOICE MAIL! Comment, ask a question, suggest topics - (614) 383-8412Artius Man - https://artiusman.com use discount code "themiddle"

After several “Good Morning” greetings, the Fat One jumps right in to more from the Book Club selection and FINALLY answers some So-So questions… and boy are they So-So. Happy National Drink Wine Day.

Happy Birthday to BTS J-Hope is 32 years old February 18 today

Welcome to another completely normal, absolutely unhinged daily comedy show where the tech almost fails, the allergies are aggressive, and somehow we open three cosmic portals before 9am.Today starts with a good old-fashioned Gen X troubleshooting session (did we unplug it? Did we punch it? Did we blow in it like an NES cartridge?) before diving into Rafe's first round of allergy shots. Nothing bonds strangers faster than sitting in a medical waiting room comparing chronic symptoms like it's poker night. Meanwhile, Riz recounts the time his kid's lips swelled up mid-shot and casually reminds us that yes — sometimes the sniffles are not just the sniffles.From there? Oh, we go spiritual.It's apparently the Lunar New Year, a solar eclipse, AND the Age of Aquarius — meaning we've got 72 hours of Fire Horse energy to fix our lives. Or at least start a band with our reborn co-host. We break down what the Year of the Fire Horse means, revisit 2014 like it was a hazy fever dream of sushi photos and mall carousels, and try to remember anything meaningful we did before TikTok ruined our attention spans.Then we spiral (intellectually, obviously).Would you rather be a dumbass who looks smart… or a genius who looks like a dumbass? The debate gets heated. Confidence vs. competence. Ignorance vs. misery. Comment section energy vs. tortured Iowa genius energy. It's basically philosophy… if philosophy drank gas station coffee.We also tackle the most “normal” things that secretly feel meaningless — signing group birthday cards for coworkers you wouldn't recognize at Schnucks, pretending to read terms & conditions, awkwardly standing through the Happy Birthday song, and the endless, soul-crushing treadmill of dishes. Is making your bed just pushing a rock up a hill? Are meetings just corporate theater? Why are we like this?And then… the hypothetical that broke the room:You get $20 million tax free.But one of your co-hosts turns into a baby.You must raise them. No babysitters. 18 years.Who's the easiest child? Who's getting stage-parented into a boy band? Who's definitely not surviving puberty in Rafe's house? Alliances are formed. Feelings are hurt. Scott somehow becomes the universal “safe pick.” Learn plots revenge. Moon declines more parenting. Riz considers conservatorship-level management.It's chaos. It's existential. It's petty. It's hilarious.Just another completely reasonable episode of your favorite daily comedy show where we solve nothing but talk about everything.Follow The Rizzuto Show → https://linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → https://1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week on Jam Session, it's Juliet's birthday! As we celebrate her milestone, Juliet and Amanda do what they do best: break down the latest celebrity news, starting with Maya Hawke's Valentine's Day wedding (6:05) and new updates in the lawsuit saga between Blake Lively and Justin Baldoni (17:37). Next, they discuss the new FX and Hulu limited series, Love Story: John F. Kennedy Jr. & Carolyn Bessette (22:03), plus Juliet's magical Vegas birthday weekend seeing the Backstreet Boys (39:33). Finally, it's time for Feedback & Follow-Up, including Amanda's red light journey (53:10). Hosts: Amanda Dobbins and Juliet LitmanProducers: Jade Whaley and Belle Roman A State Farm agent can help you choose the coverage you need. Like a good neighbor, State Farm is there.®️ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happy Mardi Gras! The Fat One is celebrating Fat Tuesday with the continuation of his weekend report which included cabbage, forgetfulness, thoughts on the Olympics and an update on the Book Club! Happy National Indian Pudding Day.

Happy Birthday Kap! Morales put together a funny open with some old Kappy moments and the crew reacts to it. Kap goes on a quick rant about how NHL players shouldn't be allowed to play in the Olympics. Kap watched the NBA All-Star game and  gives his personal criticisms, plus he thanks everyone for his birthday wishes and gifts McMenamin wrote a story about the Lakers' potentially explosive upcoming offseason… Would the Lakers bring LeBron back for less money? Kap and Sedano get into a disagreement about who the Lakers' leader is. Would LeBron take less money to stay with the Lakers - and if so, how much less? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Thank you so much for listening to the Bob Harden Show, celebrating over 14 years broadcasting on the internet. On Tuesday's show, we visit with Florida State Senator Kathleen Passidomo about Florida's budget as well as policy and political issues emerging in the sixth week of Florida legislative session. Boo Mortenson and I discuss the costs, benefits and liabilities of artificial intelligence. The Founder and CEO of the Tumaini Fund Dr. Susan Wilson, and I discuss their support of orphans in Tanzania and their Gala this week. We also visit with Linda Harden about the tremendous contributions of Jay and Patty Baker to the culture and well-being of our community (Happy Birthday, Patty!). Please join us tomorrow when we visit with Cato Institute Chairman Emeritus Bob Levy, Executive Director of The Arlington Christy Skinner, and VP of Landmark Legal Foundation Michael O'Neill. Access this and past shows at your convenience on my web site, social media platforms or podcast platforms.

6 Jahre Happy Potter! So lange reden wir schon über die Bücher und sind erst beim 5. Teil... Happy Birthday an uns und an euch, danke für's Zuhören und jetzt genug geschnackt, ran an den Speck: Martin ist enttäuscht über die mangelnde Berichterstattung über das Dschungelcamp in diesem Jahr, Sophia ist enttäuscht über den Sieger.Wir sind in der Mini-Gerichtsverhandlung in Dumbledores Büro, der Kläger Trump, äh, Fudge, ruft die erste (und einzige) Zeugin, Marietta Edgecomb auf. (Deren Mutter übrigens für die Flohnetzwerküberwachung verantwortlich ist, WTF?!)Die alte Petze ist nicht so begeistert von Hermines Fluch, der ihr Gesicht mit lilafarbenen Furunkeln in Schriftform verziert. (Welche Schriftart eigentlich? Times New Roman? Comic Sans? Wingdings?)Der professionelle Zaubereiminister lässt sich nichts von seiner Verstörtheit über diesen Anblick anmerken (Sarkasmus) und Sophia hängt sich daran auf, ob sich Zauberer eigentlich an die Muggelgesetze halten müssen und Martin erklärt das so schön, dass sogar Sophia damit zufrieden ist.Dumbledore springt durch die Loopholes der Zauberergesetze, Fudge ist maximal getriggert, Sophia fragt sich, ob es Zauberer-Seifenopern gibt und Martin kriegt die Krise bei Percys Ausflug in Fudges Hintern. Eine ganz normale Folge, also! :)​Viel Spaß dabei!​Hier geht's zu unserem Whatsapp-Kanal: https://whatsapp.com/channel/0029VbB8C00CRs1obJUivo2Z​Wir haben auch eine Patreon-Seite!​Schaut doch mal vorbei, es gibt Bonus-Episoden, Sticker und andere aufregende Dinge! Besucht uns auf den sozialen Netzwerken, unserer Webseite und erzählt euren Freunden von uns! Vielleicht haben die ja auch Lust auf einen Harry-Potter-Podcast!​Webseite: www.Happy-Potter.netPatreon: www.patreon.com/happypotterDiscord: https://discord.gg/2EajMaGXpcFacebook: www.facebook.com/happypotterpodcastInstagram: @happypotterpod​Und wir haben jetzt auch Playlists mit unseren Lieblingssongs:​Martins Playlist:https://open.spotify.com/playlist/2IBxDsPVm1UdNBiW2QkgEJ?si=rU6HLkoFQfGGjvab8g8yEQ&pi=e-bKuIHap7RWCu​Sophias Playlist:https://open.spotify.com/playlist/0kuOP0TujMhrqOWzLwUH1O?si=9LIZkc2nQTOajHPaqpP_RA&pi=e-tc6w0NgQRo-W Hosted on Acast. See acast.com/privacy for more information.

The most popular song of the 20th century — and a key part of a ubiquitous American ritual — was also the subject of a years-long legal battle. Zachary Crockett blows out the candles. This episode was originally published on August 13th, 2023. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Show Open PackageIntro/Welcome/InfoEpisode - 483: The Last BirthdayThe Couch Co-Op Wheel of Pain!Crom wills it!Topic: Valentines Day! Presidents Day! Happy Birthday! Oh my!Couch Co-OptionalGoodbyes/InfoShow Closing Package

Tyreek Hill and Bradley Chubb have been released by the Miami Dolphins in a first move under new head coach, Jeff Hafley. Should the Washington Commanders make a play for one or both of the former Dolphins? Anthony Armstrong weighs the options on this episode of BLEAV in Commanders! 00:21 NBA All-Star/Valentine's Weekend 1:00 Bradley Chubb and Tyreek Hill RELEASED 3:20 Washington's Needs Heading Into the Offseason 4:30 Bradley Chubb 8:30 Tyreek Hill 12:35 Happy Birthday, Darrell Green! This is setting up to be an exciting offseason! #RaiseHail Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Legendary activist Marsha P. Johnson was one of the most remarkable figures in LGBTQ+ history – central to the Stonewall Riots and the gay liberation movement at large. Her remarkable life story is captured in a new biography by artists and filmmaker Tourmaline. Tourmaline is an award-winning artist, filmmaker, writer, and activist whose work is dedicated to Black trans joy and freedom. She is a TIME 100 Most Influential Person in the World awardee and a Guggenheim Fellow. She has frequently appeared on ABC News, as well as in the New York Times and Vogue. Her art is in the permanent collection of the Metropolitan Museum of Art, the Tate, and the Getty Museum. She created the critically acclaimed film Happy Birthday, Marsha!, and she has directed Pride campaigns for Dove, Marc Jacobs, and Reebok. She previously worked with Queers for Economic Justice and the Sylvia Rivera Law Project. She lives in Miami, Florida.Kate Schatz is the New York Times-bestselling author of the “Rad Women” book series and Do the Work: An Anti-Racist Activity Book, co-written with W. Kamau Bell. Her novel Where the Girls Were is forthcoming in 2026 from Dial Press. On December 10, 2025, Tourmaline came to the Sydney Goldstein Theater to talk to Kate Schatz about her bool "Marsha: The Joy and Defiance of Marsha P. Johnson".  

"Happy Birthday, Peter Hook" There's nothing about Peter Hook that I can tell you you don't already know, so let's just do a refresher run through his musical CV. In the late '70s Hook formed Joy Division with childhood pal Bernard Sumner after the two friends saw the Sex Pistols play in Manchester. The band only put out two albums and one of those albums, the legendary Closer was put out two months after the band had ceased to b,e due to the suicide of singer Ian Curtis on the eve of Joy Division's debut US/Canada tour. Rechristened New Order and consisting of the remaining members of Joy Division plus keyboardist Gillian Gilbert, New Order blended jittery post-punk rhythms with dance music. The result? Well, you know the result. They were one of the biggest bands of the '80s, spawning hits like True Faith, The Perfect Kiss, Subculture and Blue Monday, which was the biggest selling 12-inch of all time. It might still be. New Order dominated the '80s, but the '90s weren't too shabby—they had a #1 UK hit with World In Motion in 1990 and they had their biggest US hit with “Regret” in 1993. They kept crushing it, putting out Get Ready in 2001 and collaborating with Billy Corgan and Bobby Gillespie of Primal Scream. They were given the Godlike Genius award at the 2005 NME awards and got nominated for a Grammy in 2006 for Guilt Is a Useless Emotion. Then things got a bit sour, with Hook leaving the band in 2007 and forming his own outfit Peter Hook and the Light, a band that featured his son Jack and much to his fans delight, revisited the Joy Division and New Order songbooks. Over the course of his career Hook has worked with The Stone Roses, and Perry Farrell, he toured with the Durutti Column, put out albums with Revenge and Monaco and wrote one of the best music books ever: Substance; Inside New Order. This is a partial list, btw. Almost a partial partial list because when it comes to Peter Hook, there's a lot of ground to cover. But these are the basics. Do a deeper dive after you hear the show—the guy is a titan. As for his split with New Order and his boyhood pal Bernard, we don't have time to go over the legal end of that dissolution, so let's just say this. If you're hoping for a reunion you're wasting your good hope energy. Not going to happen. As a bassist, he plays with an authoritative blend of prowl and sting and not only is he one of the all time greats, he also happens to be a nice guy. This chat covers his fractured friendship with Sumner, why the New Order/Joy Division songbooks appeal to fans across generations and what Hooky has learned from his old material. www.peterhookandthelight.live www.bombshellradio.com www.embersarts.com www.stereoembersmagazine.com www.alexgreenbooks.com Stereo Embers The Podcast Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

The Fat One closes out VD Week 2026 with a recap of the previous couple of days that included the coupon, taxes, TSA renewal, a So-So bump and question and an extra dose of “Love American Style” music. Happy National Tortellini Day. Don't forget VD is half price on Sunday.

The Mandalorian and Grogu fake out at the Super Bowl, the budget for the movie, the Disney succession plan and more highlight this week's Star Wars news.   In this fully armed and operational episode of Podcast Stardust, we discuss: The Mandalorian and Grogu teaser from the Super Bowl that posed as a beer ad, The Star Wars nickname for the Seattle Seahawks defense, The budget for The Mandalorian and Grogu, The announcement of the new CEO and President of the Disney Company, Happy Birthday to John Williams, and Reopening dates for Star Wars attractions at Galaxy's Edge. Thanks for joining us for another episode! Subscribe to Podcast Stardust for all your Star Wars news, reviews, and discussion wherever you get your podcasts. And please leave us a five star review on Apple Podcasts.   Find Jay and her cosplay adventures on J.Snips Cosplay on Instagram. Follow us on social media: Twitter | Facebook | Instagram | Pinterest | YouTube. T-shirts, hoodies, stickers, masks, and posters are available on TeePublic. Find all episodes on RetroZap.com.

Reese Jones is living every San Fransico tech guy's wet dream. Create a company, sell it to Motorola for $205 millions dollars, and meet a hot, blonde girlfriend who doesn't hold back in the bedroom. A lifestyle some would be jealous of even after Reese gets kidnapped. Three men jump out, blindfold him, force him into a car at gunpoint. Next thing he knows, Reese is being led through seven different rooms, representing the seven deadly sins. One is lust. Another is gluttony. Then, envy. Reese is bound to a chair while his girlfriend has intercourse with what is described as ‘a buffet of people.' After all seven rooms, all seven sins, Reese is reborn. Which just means he's now cloaked in white, standing on a rooftop deck while his blonde girlfriend waits for him in the distance: “Happy Birthday.” That's what you get as a present when you're worth $200 million dollars and your girlfriend is the founder of One Taste, a company that helps women meditate and reach an orgasm. Every tech guy's wet dream right? That's until Reese gets wrapped up in one of the strangest, potential trafficking cases, and his girlfriend, Nicole Daedone, wellness company CEO ends up in the same prison as none other than Ghislaine Maxwell.   Full show notes available at RottenMangoPodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode Toby and Derrick Green sit down with birthday boy and A&R legend Mike Gitter! Come along for the ride through the music business as the guys go on a journey through Gitter's life past, present & future! Please remember to rate, review and subscribe and visit us at https://www.youtube.com/tobymorseonelifeonechance Please visit our sponsors! Rockabilia- use code OLOC10 Rockabilia Athletic Greens https://athleticgreens.com/oloc Removery- code TOBYH2O https://removery.com  Liquid Death https://liquiddeath.com/toby Refine Recovery https://www.instagram.com/refinerecoverycenter/  

Reese Jones is living every San Fransico tech guy's wet dream. Create a company, sell it to Motorola for $205 millions dollars, and meet a hot, blonde girlfriend who doesn't hold back in the bedroom. A lifestyle some would be jealous of even after Reese gets kidnapped. Three men jump out, blindfold him, force him into a car at gunpoint. Next thing he knows, Reese is being led through seven different rooms, representing the seven deadly sins. One is lust. Another is gluttony. Then, envy. Reese is bound to a chair while his girlfriend has intercourse with what is described as ‘a buffet of people.' After all seven rooms, all seven sins, Reese is reborn. Which just means he's now cloaked in white, standing on a rooftop deck while his blonde girlfriend waits for him in the distance: “Happy Birthday.” That's what you get as a present when you're worth $200 million dollars and your girlfriend is the founder of One Taste, a company that helps women meditate and reach an orgasm. Every tech guy's wet dream right? That's until Reese gets wrapped up in one of the strangest, potential trafficking cases, and his girlfriend, Nicole Daedone, wellness company CEO ends up in the same prison as none other than Ghislaine Maxwell.   Full show notes available at RottenMangoPodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The storm made it to SF, and here's hoping it makes it to Tahoe. Happy Birthday!

After several “Good Morning” greetings, the Fat One natters about the #3 fan reveal, a Vons East giftette, being twines with Miss Gayle King and a REALLY weird dream. Happy National Peppermint Patty Day.

Reese Jones is living every San Fransico tech guy's wet dream. Create a company, sell it to Motorola for $205 millions dollars, and meet a hot, blonde girlfriend who doesn't hold back in the bedroom. A lifestyle some would be jealous of even after Reese gets kidnapped. Three men jump out, blindfold him, force him into a car at gunpoint. Next thing he knows, Reese is being led through seven different rooms, representing the seven deadly sins. One is lust. Another is gluttony. Then, envy. Reese is bound to a chair while his girlfriend has intercourse with what is described as ‘a buffet of people.' After all seven rooms, all seven sins, Reese is reborn. Which just means he's now cloaked in white, standing on a rooftop deck while his blonde girlfriend waits for him in the distance: “Happy Birthday.” That's what you get as a present when you're worth $200 million dollars and your girlfriend is the founder of One Taste, a company that helps women meditate and reach an orgasm. Every tech guy's wet dream right? That's until Reese gets wrapped up in one of the strangest, potential trafficking cases, and his girlfriend, Nicole Daedone, wellness company CEO ends up in the same prison as none other than Ghislaine Maxwell.    Full show notes available at RottenMangoPodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Reese Jones is living every San Fransico tech guy's wet dream. Create a company, sell it to Motorola for $205 millions dollars, and meet a hot, blonde girlfriend who doesn't hold back in the bedroom. A lifestyle some would be jealous of even after Reese gets kidnapped. Three men jump out, blindfold him, force him into a car at gunpoint. Next thing he knows, Reese is being led through seven different rooms, representing the seven deadly sins. One is lust. Another is gluttony. Then, envy. Reese is bound to a chair while his girlfriend has intercourse with what is described as ‘a buffet of people.' After all seven rooms, all seven sins, Reese is reborn. Which just means he's now cloaked in white, standing on a rooftop deck while his blonde girlfriend waits for him in the distance: “Happy Birthday.” That's what you get as a present when you're worth $200 million dollars and your girlfriend is the founder of One Taste, a company that helps women meditate and reach an orgasm. Every tech guy's wet dream right? That's until Reese gets wrapped up in one of the strangest, potential trafficking cases, and his girlfriend, Nicole Daedone, wellness company CEO ends up in the same prison as none other than Ghislaine Maxwell.   Full show notes available at RottenMangoPodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.