Podcasts about John How

Bishop Joseph Coffey joins Patrick to discuss Veterans and the Military (3:10) what is the teaching of the Church on war? (8:16) Where do Military people celebrate Mass? Robert - Met the Bishop a few years ago. He was invited to Dayton where 2 of my daughters were confirmed. So cool and laid back. (15:17) Paul - If he's on the field with the soldiers, and runs out of wine but has hosts, can he celebrate mass without wine and just the host? John - I saw him in Philadelphia. I have children in the Military. shook hands with him. Both active duty. Want to thank him for the chaplaincy. (20:00) Break 1 (21:54) John - How do the priests get recruited for military? Lisa – How can we involved with the Archdiocese of the Military? (25:45) Ralene - Thank you . They're out there in danger and helping men and women grow. Dear friend who was in the army and assisted chaplains at Mass. Friend built portable kneelers. Also have RCIA (OCIA). Armor of God. Vicki - He was here for many years as a pro life supporter. Thank him for his protection for all and hello from San Diego. (30:55) Noma - How does the chaplain have ranks in the military? I thought they were just a priest. History of the Chaplains in the Military. (36:36) Shelly - I'm military family and want to share my experience how important it is to have military parishes and life. (40:12) Break 2 (42:59) Mike - All the military chaplains are commissioned officers I believe. What is the highest rank of a chaplain? Kevin - I'm a military retiree. the value of chaplains specifically to leaders who have to make hard decisions. How can we encourage military chaplaincy?

Patrick answers questions that swing from scriptural interpretation of “other sheep” in John’s Gospel to the raw difficulties of forgiveness when resentment sticks, pausing to reflect on priests who wade into politics during homilies and the layers behind Junia’s mention in early Church history. He breaks open issues around a public parish scandal, offers gritty encouragement about letting go of old hurts, and shares hands-on book recommendations for spiritual growth. John - How can you interpret the passage where Jesus says that he has sheep that are not of this fold? (01:31) Ruben (email) – Should politics be injected into mass readings? (05:56) Marie - Does true forgiveness still happen even if you are still angry at the person? (13:40) Rick (email) - Was Junia one of the Apostles or simply a holy woman? (21:57) Thomas - How did Jesus fulfill the prophecies that the Jewish people believed He did not fulfill? (26:38) Suzie - I heard this saying that forgiveness is giving up any desire for revenge. It really helped me. (30:21) Mary Pat (email) - I read the Junia series and would recommend them for kids over 12, probably due to the references to sexual immorality. (39:01) Rachel - At my parish, there is a popular gay politician that receives the Eucharist. (41:14) Candice - I have had trouble bearing children. Is it ok to have your tubes fixed in order to bear children? (47:48)

Austin St. John is an iconic actor and martial artist celebrated for his role as the original Red Power Ranger, Jason Lee Scott, in the Mighty Morphin' Power Rangers series.. The episode delves into Austin's transformation from a young martial artist to an international superhero icon. The candid conversation reveals behind-the-scenes stories from the Power Rangers era, Austin's unique experiences with global fame, and his transition into a versatile entrepreneur. Rudy and Austin discuss overcoming the paralysis of analysis and perfectionism, reminding listeners that starting is crucial to success.The episode provides a rich narrative about Austin's life lessons, particularly how he leveraged the Power Rangers' success to fuel his entrepreneurial spirit. They discuss the critical aspects of business like timing, perseverance, and learning from failure. Austin emphasizes the importance of not succumbing to victim mentality, consistently surrounding oneself with positive influences, and championing patience and time as heroes in achieving one's goals. From recounting the crazy story of securing his role as Jason to highlighting the impact of the Power Rangers franchise, the discussion offers valuable insights into mindset and resilience.Key Takeaways:The path to success often requires embracing imperfection and starting with what you have.Perfectionism and over-analysis can stall progress; taking action is vital.Recognizing and learning from missteps can unlock immense opportunities.Patience and time are two crucial elements that contribute to lasting success.Surrounding yourself with positive, like-minded individuals is key to driving personal and professional growth.Notable Quotes:"You're never supposed to wear red on camera." – Austin St. John"How do you defeat a man who never stops getting up?" – Austin St. John"Luck is preparation meeting opportunity." – Austin St. John"The two greatest heroes in existence…are time and patience." – Austin St. John"You have not failed until you choose not to get back up." – Austin St. JohnConnect with Austin St. John:WebsiteInstagramFacebookConnect with Rudy Mawer:LinkedInInstagramFacebookTwitter

The post Luke 9: 46-50. John – How does God change His people? appeared first on Welbeck Road Evangelical Church.

Patrick welcomes listeners on a March for Life broadcast, exploring pro-life action, Communion questions, and the Catholic approach to marriage, often through real caller situations. He moves from scriptural analysis—like the temptation of Jesus and “only God is good”—to conversations on the effects of birth control and spiritual experiences in modern life. Support, clarity, and a touch of candor shape every moment, with Patrick encouraging authentic faith at every turn. Lyn (email) - Regarding your conversation with Marco and the de-frocked priest - I was a little surprised that you didn’t caution him not to read on the Internet about his friend. (01:09) Dusty - Can my Catholic wife take the Eucharist if I am not Catholic? Also, a question Matthew 5. (03:21) John - How many babies does birth control kill per year and home many times does it fail? (11:27) Barbara - I have been a Eucharistic Minister for years and I am considering receiving on the tongue. Should I step down from being a Eucharistic Minister because I don't want to touch the host? (19:14) Paul - Why did Jesus say, 'why do you call me good, only God is good?’ (27:17) Mary - My young daughter said she saw the ghost of my sister. I called a priest and he came to bless our house. All of it stopped. The Devil tempts us with familiar spirits. (32:53) Patrick in Monterey, CA - There has been a lot of talk on this show about receiving Communion. What about St. Cyril of Jerusalem's guidance? (36:52) George – Was the prostitute, Rahab, in the line of Jesus? (42:44) Esmeralda - I received the Eucharist in the hand after the pandemic. I am scared to receive on the mouth because it fell out. What can I do? (44:31)

Check out this awesome Encore show from October 24, 2025 Fr. John Paul Erickson joins Patrick to discuss Conquering Fear (3:49) how do you distinguish between different types of fears? (11:22) Why does fear lead us into sin? (20:55) Break 1 Matthew - fear stands four: false evidence appearing real counter that with : face everything and recover (25:11) Ashley -I have a fear of death and then everything is crashing down on me (33:41) John - How can you deal with other peoples fear when they seems irrational? Jerry - diagnosed with brain tumor- turned it to god- and god took care of it- faced death and that fear (38:39) Break 2 Julio - The woman who is going through some mental fears. I am going through a rough patch in life with fear. It has been several months and I can't seem to shake it. I have been going to Mass and the Sacraments which helps me a lot. Now I am not feeling worthy to get to heaven. What should I do? (42:31) Emily - fear associated with childbirth (44:45) John - fear of life- afraid that I am not using my life well and God doesn't seem to answer my prayer

John Granger in September 2022, weeks after the publication of Ink Black Heart, tackled the tangle of 108 poetic epigraphs in Strike 6 from twenty-two Anglo-American Victorian women poets in search of a common theme, of a prevalent meaning, or, the Holy Grail, a work among the many works that acted to Heart as Rosmersholm did to Lethal White and Faerie Queene did to Troubled Blood. This effort involved listing the poets, the epigraphs (citing poems by each woman), and, without reading each poem, noting simply what each brief excerpt included. You can read the results of those surveys at ‘Ink Black Heart: Intro to Epigraphs 101.'The anticipated result of those tabulations was that the poetic epigraphs in Heart, in tandem with the cardiac Part headings from Grey's Anatomy, were consistently about the heart as spiritual faculty rather than bodily pump. The surprise finding was that 13% of the epigraphs were from Elizabeth Barrett Browning's Aurora Leigh. John speculated in conclusion that it was the heart of Rowling's sixth Strike-Ellacott novel:Again, this is not the place to write at any length about the relevance of ‘Aurora Leigh' as a mirroring text within Ink Black Heart. Like you, I look forward to Beatrice Groves' exegesis to complement her Cuckoo's Calling work with Rossetti's ‘Dirge' and Tennyson's ‘Ulysses.' The two important things to note here are only that ‘Aurora Leigh' is the poem most deployed in Strike6 epigraphs and that it is a melange of “Biblical and classical history and mythology, as well as modern novels.” That it would work as something of a template or touchstone for Ink Black Heart, a novel with mythological and hermetic backdrops and archetypal symbols used to reinvent the depth and range of the most modern of genres, the murder mystery, as psychomachian allegory, seems almost a no-brainer. If you can only read one book or poem to buttress your understanding of Strike6, it has to be Durkheim's Suicide, Evola's Ride the Tiger, or Browning's ‘Aurora Leigh,' and I think the epic poem is your best bet.When Rowling agreed to a live interview with Serious Strikers on Twitter the month after Ink Black Heart's publication, one hosted by the Barmy Army, John listed the first question he would ask her to be about the importance if any of Aurora Leigh for understanding Strike 6: “Is Barret Browning's Aurora Leigh the backdrop story to Ink Black Heart the way Rosmersholm and Faerie Queen were to the fourth and fifth Strike mysteries?”Nick Jeffery included this question in a veritable barrage of questions he launched during the Barmy Army interview, and, incredibly, Rowling responded:John concluded in his write up of the Barmy Army interview:If I get “all credit” for the spotting, I must take the blame as well for misspelling Browning's name and for Nick's saying there were thirteen rather than fourteen Leigh epigraphs. All credit to @gbjeffen for succeeding in getting Rowling to answer a question, something I have not succeeding in doing in more than two decades of reading her work and writing about its artistry and meaning. Look for the seven point Ink Black Heart: Aurora Leigh post in the coming week.John, however, never wrote up that '“seven point Ink Black Heart Aurora Leigh post” and his expectation of a Beatrice Groves exegesis also never materialized. That project was delayed until Nick Jeffery, in his years long effort to read everything Rowling has admitted to reading and liking (see this list of those books, a list that predates the 2022 revelations in re Aurora Leigh), arrived at the 1856 epic novel in blank verse. Last week Nick wrote up his findings here as ‘A Rowling Reading of Aurora Leigh: The Influence of Elizabeth Barrett Browning's Aurora Leigh on J.K. Rowling.'John and Nick put Hallmarked Man aside, consequently, in this week's conversation to talk about this poem, Nick's essay, and the place of this work in Fourth Generation Rowling Studies. Enjoy!Next week they'll chart Part Three of Hallmarked Man, discuss the astrological symbols and meaning embedded in Strike 8's names and plot points, and review with a Generation Hex special guest the long anticipated full-cast audio book of Harry Potter. and the Philosopher's Stone. Stay tuned — and please join the Paid Subscribers club to keep the HogPro lights on and restore heat and power to John's home! Many thanks to all subscribers around the world with a special shout-out this week to the six listeners in Norway: Tussen Takk!The Ten Questions and Promised Links:Little Women and Harry Potter: Jo Rowling is Jo March The Seven Points of CorrespondenceYou see, I was a plain — and that is relevant! you know that is relevant, that isn't a trivial thing, especially when you're a kid — I was a very plain, bookish, freckly, bright, little girl. I was a massive book worm and I spent a significant part of my reading looking for people like me.Now I didn't come up with nothing. Y'know, I remember Jo March who had a temper and wanted to be a writer so that was a lifeline. There's a heroine in a book called Little White Horse that I've spoken about publicly who was plain and that was fabulous. “Wow! You get to be a heroine and get not to be a raving beauty..”But y'know these were pretty slim pickings. J. K. Rowling: Deathly Hallows, Part 2, DVD extras, ‘The Women of Harry Potter‘ Mightier than the Sword: Uncle Tom's Cabin and the Battle for AmericaA fascinating look at the cultural roots, political impact, and enduring legacy of Harriet Beecher Stowe's revolutionary bestseller.Uncle Tom's Cabin is likely the most influential novel ever written by an American. In a fitting tribute to the two hundredth anniversary of Harriet Beecher Stowe's birth, Bancroft Prize-winning historian David S. Reynolds reveals her book's impact not only on the abolitionist movement and the American Civil War but also on worldwide events, including the end of serfdom in Russia, down to its influence in the twentieth century. He explores how both Stowe's background as the daughter in a famously intellectual family of preachers and her religious visions were fundamental to the novel. And he demonstrates why the book was beloved by millions―and won over even some southerners―while fueling lasting conflicts over the meaning of America. Although vilified over the years as often as praised, it has remained a cultural landmark, proliferating in the form of plays, songs, films, and merchandise―a rich legacy that has both fed and contested American racial stereotypes. Interview Questions1. [Nick] I wrote the essay, John, but the reason I read Aurora Leigh late 2025 dates back to September 2022 and a discovery you made while sorting through the 108 poetic epigraphs of Rowling's Ink Black Heart. Before we jump into the Elizabeth Barrett Browning epic poem, can you run us through that effort and finding?2. [John] 13% of course is nothing like the 100% epigraphical backdrops of Lethal White and Troubled Blood but, just reading the Wikipedia summary of Aurora Leigh, I thought it a very strong possibility that it might have served a similar function for Ink Black Heart. Which is where you enter the picture, Nick. I've never managed to get Rowling to answer even one of my questions in a quarter century of asking; you pried three answers out of her in one go! And on your first effort? Please tell us that story and what Rowling revealed about Aurora Leigh.3. [Nick] And so we had almost immediate confirmation of your highly speculative conclusion from the epigraphs, John. And you promised a seven point essay of compare and contrast criticism vis a vis Aurora Leigh and Ink Black Heart. What happened to that post?4. [John] So my notes for that were put aside, literally folded and stuffed in my Norton Critical edition of Aurora Leigh, waiting for the leisure time post dissertation to read the verse-novel and write up the seven points. But you revived that long forgotten project with your essay, Nick, so let's skip to that work. I'm confident few of our listeners are familiar with Elizabeth Barrett Browning or her most important and final poem; can you introduce us to both subjects?5. [John] How easy or hard was it to enter into the story, visualize the surroundings, and empathize with the characters?6. [John] And you charted the ring of Aurora Leigh's nine parts in your post! How hard was that? You didn't discuss it at any length in your post; how important do you think that is for understanding the work? Was it largely a hat-tip to the great epic poets?7. [John] If I had one complaint about your exegesis it's that you only spent two sentences on what I thought were profound findings, namely the ‘meaning in the middle' and the turtle-back correspondences between parts two and eight. Those are the giant take-aways, I think, of Leigh's influence on Rowling the Re-Reader and Magpie Borrower-Writer, no? Say some more about that, please.8. [John] You wrote that Rowling's selections from Aurora Leigh for epigraphs “are not arbitrary; they serve as interpretive keys, inviting readers to draw connections between the 19th-century verse and Rowling's modern tale of online toxicity, anonymity, and justice.” Can you give us some examples of what you mean?9. [John] Rowling specifies a parallel between Heart's Zoe and Leigh's Marian. Can you explain that link and its importance and any other character parallels and inspirations?10. [John] You close with ‘Thematic Resonances and Broader Literary Influence,' which are probably the most important connections between EBB and JKR beyond the plot point parallels and character echoes in Ink Black Heart. Can you summarize those in a way to push Serious Strikers and Rowling Readers to make the effort to find a copy of Aurora Leigh and read it?*Optional [Nick] So how close did I come to your ‘seven points,' John? This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Patrick responds to real questions: marriage validity, conversion stories, suffering’s meaning, dispensations, and defining a cradle Catholic. Listeners hear stories about pressure at the altar, the power of Mass cards, spontaneous spiritual nudges, and the daily grind of faith. Flashes of biblical wisdom and practical advice ricochet through the episode, leaving room for both comfort and hard truths. Barbara – I heard a voice in adoration. How can I discern this and share it properly? (00:45) Sal - Can you define what cradle catholic is? (07:21) Liz - I think my marriage is invalid? Should we renew vows? (12:02) Jodi (email) – Is requesting a novena of Masses for a living priest acceptable? (19:32) John - How can I explain suffering to a loved one who is going through hard times? (22:10) Rose - Are arranged marriages valid? (29:43) Brad - Who gets a dispensation for missing mass? (37:55) Jarod - Acts 15:20 - How did the Apostles decide which Mosaic Law to follow? (45:32)

Fr. Simon dives into Bible Study and discusses Wisdom – 1:1-7 and Luke 17:1-6. Break 1 Stop using paper purificators. Letters: Email – Father Simon I heard you talk about Nostra Aetate. Ca you please unpack this a little more on who is saved? Email – John: How close are the props in the Chosen to real life in the ancient world? Break 2 Word Of The Day - "She" Phones: Pat - A Priest told me, at a dinner table, that an abortion is okay if it's the only way to save the mother.

Patrick tackles raw questions about faith and practice, jumping from the nuances of sainthood and martyrdom to the quirks of liturgical ritual. Listeners share struggles with family rifts, spiritual confusion, and the challenges of raising children with special needs in a parish pew, all while Patrick gives perspective, sometimes practical, sometimes straight from tradition. Thoughts shift rapidly, from theological details to heartfelt encouragement, as Patrick guides each caller through the unpredictable threads of Catholic life. Marty - Does someone have to be Catholic to be a saint if they are martyred? (00:36) Jeff - Does the priest have to be holding the bread in his hand during the Consecration? (09:24) Julie (email) – Was Jesus black? (17:36) Chinto - What is the Catholic Church's view on the Book of Enoch? Why wasn't it put into the Scriptures. (20:54) John - How do I forgive family members when they treat me poorly? (34:36) Jen - How can I talk with a friend who grew up Catholic and is not practicing her faith and tell her not to receive Communion? (46:45) Originally Aired on 08-14-2025

Fr. John Paul Erickson joins Patrick to discuss Conquering Fear (3:49) how do you distinguish between different types of fears? (11:22) Why does fear lead us into sin? (20:55) Break 1 Matthew - fear stands four: false evidence appearing real counter that with : face everything and recover (25:11) Ashley -I have a fear of death and then everything is crashing down on me (33:41) John - How can you deal with other peoples fear when they seems irrational? Jerry - diagnosed with brain tumor- turned it to god- and god took care of it- faced death and that fear (38:39) Break 2 Julio - The woman who is going through some mental fears. I am going through a rough patch in life with fear. It has been several months and I can't seem to shake it. I have been going to Mass and the Sacraments which helps me a lot. Now I am not feeling worthy to get to heaven. What should I do? (42:31) Emily - fear associated with childbirth (44:45) John - fear of life- afraid that I am not using my life well and God doesn't seem to answer my prayer

Patrick tackles raw questions about faith and practice, jumping from the nuances of sainthood and martyrdom to the quirks of liturgical ritual. Listeners share struggles with family rifts, spiritual confusion, and the challenges of raising children with special needs in a parish pew, all while Patrick gives perspective, sometimes practical, sometimes straight from tradition. Thoughts shift rapidly, from theological details to heartfelt encouragement, as Patrick guides each caller through the unpredictable threads of Catholic life. Marty - Does someone have to be Catholic to be a saint if they are martyred? (00:36) Jeff - Does the priest have to be holding the bread in his hand during the Consecration? (09:24) Julie (email) – Was Jesus black? (17:36) Chinto - What is the Catholic Church's view on the Book of Enoch? Why wasn't it put into the Scriptures. (20:54) John - How do I forgive family members when they treat me poorly? (34:36) Jen - How can I talk with a friend who grew up Catholic and is not practicing her faith and tell her not to receive Communion? (46:45)

 This episode is brought to you by FLYKITT, Audible and LMNT. Mental health care is evolving, and in this episode, Dr. John How, MD, Medical Director at Stella, joins us to explore cutting-edge treatments for PTSD, anxiety, and depression. From the powerful effects of stellate ganglion blocks—described as “vacation in a syringe”—to the life-changing impact of ketamine-assisted psychotherapy, this conversation dives into the science, safety, and soul behind these transformative modalities. We unpack how trauma is stored in the body, why hope is the first step toward healing, and why we're finally ready as a culture to embrace radical solutions for mental well-being. Follow Stella @stellamentalhealth Follow Chase @chase_chewning ----- In this episode we discuss... 00:00 – Intro: The State of Mental Health in America 01:22 – Dr. How's “State of the Union” on mental health 02:56 – Legal, cultural, and insurance challenges 03:50 – Why SSRIs often fall short 04:59 – Blending old modalities with new therapies 06:54 – Hope as the foundation of mental health recovery 08:19 – Are we culturally ready for these treatments? 10:05 – Injuries vs. Disorders: Rethinking PTSD 11:17 – What is a Stellate Ganglion Block? 13:12 – Fight or flight, nerve resets, and emotional regulation 15:04 – Military use and resetting hypervigilance 17:11 – What types of trauma respond well to SGB? 18:36 – Cucumber to pickle: susceptibility after trauma 20:19 – Maintenance frequency and Dr. How's personal use 21:43 – What the SGB experience feels like 23:29 – The science behind emotional release 25:59 – Do you need to do “the work” beforehand? 27:54 – Post-procedure sensitivity and integration tips 30:17 – Ideal recovery settings after the block 31:50 – Using SGB for physical pain 33:28 – How physical and emotional pain connect 35:46 – Treating mental health rooted in physical trauma 38:07 – Long-term effects and maintenance needs 40:36 – Can people become addicted to this treatment? 42:43 – How ketamine therapy fits in 44:56 – Response rates for SGB vs. ketamine 46:54 – Best practices for combining SGB and ketamine 49:10 – Chase's personal journey with ketamine 51:38 – Making health decisions from a place of desperation 53:34 – Safety, risks, and first-line vs. third-line treatments 54:50 – Ketamine therapy: IV, IM, trochies, and Spravato 56:50 – What a ketamine session is really like 58:30 – Aftereffects and integration 59:34 – Darkness, ego death, and healing 01:01:39 – Is ketamine a proactive mental health tool? 01:04:20 – Environment and human connection in healing 01:07:46 – Access, insurance, and affordability 01:12:07 – Constructive suffering and advocating for yourself 01:14:00 – The system, self-responsibility, and asking better questions 01:16:28 – Is society ready for transformative treatments? 01:17:07 – What “Ever Forward” means to Dr. How 01:18:35 – Where to find Dr. John How and Stella ----- Episode resources: Never get jet lag again and save 15% with code CHASE at https://www.FlyKitt.com Get a free 30-day trial of my favorite audiobook app at https://www.AudibleTrial.com/everforward Get a FREE variety sample pack with any purchase of electrolyte drinks at https://www.DrinkLMNT.com/everforward Watch and subscribe on YouTube Learn more at StellaMentalHealth.com  

In this episode of 'Don't Cut Your Own Bangs,' host Danielle Ireland introduces John Kippen, a resilience and empowerment coach, magician, and motivational speaker. John shares his incredible journey of overcoming a life-threatening brain tumor and how it transformed his life and career.  Throughout the episode, John discusses his healing journey, the power of vulnerability, and the importance of facing one's limiting beliefs. He also reveals the origins of his unique phrase 'impossible really means I am possible' and offers a special gift to listeners. Tune in to uncover valuable wisdom nuggets and be inspired by John's story of triumph over adversity.   00:00 Introduction to the Episode 00:40 Meet John Kippen: A Multihyphenate Talent 01:23 John's Life-Altering Diagnosis 05:46 The Surgery and Its Aftermath 08:04 The Road to Recovery 13:30 Embracing the New Normal 17:29 The Power of Truth and Magic 29:14 The Power of Magic and Connection 29:31 Introducing Treasured: A Journal for Self-Discovery 30:44 The Magic of Personal Connection 32:59 Overcoming Personal Struggles Through Magic 34:38 The Journey to Self-Acceptance 35:42 The Importance of Asking and Vulnerability 50:24 The TED Talk Experience 54:34 Final Thoughts and Encouragement   RATE, REVIEW, SUBSCRIBE TO “DON'T CUT YOUR OWN BANGS”  Like your favorite recipe or song, the best things in life are shared. When you rate, review, and subscribe to this podcast, your engagement helps me connect  with other listeners just like you. Plus, subscriptions just make life easier for everybody. It's one less thing for you to think about and you can easily keep up to date on everything that's new. So, please rate, review, and subscribe today.    DANIELLE IRELAND, LCSW I greatly appreciate your support and engagement as part of the Don't Cut Your Own Bangs community. Feel free to reach out with questions, comments, or anything you'd like to share. You can connect with me at any of the links below.   JOHN KIPPEN: https://www.ted.com/talks/john_kippen_being_different_is_my_super_power_magic_saved_my_life   https://www.johnkippen.com   DANIELLE IRELAND, LCSW Website: https://danielleireland.com/ The Treasured Journal: https://danielleireland.com/journal Instagram: https://www.instagram.com/danielleireland_lcsw TikTok: https://www.tiktok.com/@dontcutyourownbangspod?_t=ZP-8yFHmVNPKtq&_r=1 Transcript:   John Kippen Edited Interview [00:00:00] [00:00:07] Hello. Hello, this is Danielle Ireland and you are catching an episode of Don't Cut Your Own Bangs. And today I have the great pleasure of introducing you to someone I can now call a new friend John Kippen. John is a multihyphenate. He has had quite a life and he's an excellent storyteller. So this episode you're gonna wanna buckle up. [00:00:31] It is so good. Get those AirPods in, go on your walk, get safely in your car, get ready to listen because this is just an absolutely beautiful episode. But let me tell you a little bit about John. John is a resilience and empowerment coach. He was and is the CEO of a very successful IT company. [00:00:49] He was a main stage performer at the Magic Castle in Los Angeles, so if that just gives you a little insight, is the level of his magic. He is a motivational speaker. He's a life coach, and. He has a TED talk that has received over a million views. And the heartbeat of this TED talk is how he triumphs over tragedy with a diagnosis of a tumor the size of a golf ball that is separating his brainstem and the procedure he needed to save his life, changed his life forever. [00:01:23] Doing the work of healing does not come easily to anyone, but as John so beautifully puts in this episode, if John can do it, you can do it. He's using his stories, his vulnerable and raw experiences, and talking about not only what happened to him, but how he moved through the impossible. [00:01:45] He actually coins a phrase that I love and I'm going to keep. Which is that impossible really means I am possible. So the ultimate magic trick, the ultimate illusion is what your limiting beliefs are about yourself, and how do you use facing those fears and those limiting beliefs to transform your life. [00:02:08] And in John's case, he takes that healing and offers it as a gift to us. As listeners to his clients and his coaching practice to the readers of his book, he has authored a book The Forward by None other than the Jamie Lee Curtis from all of the places. You know her most recently. The Bear where she won an Emmy, but everything everywhere, all at once. [00:02:32] She and John are buds, and she believes in him and believes in his work, and as a champion of that work, it just adds a little extra sparkle and fairy dust to the beautiful work that he's already doing to say that he's been vetted by someone who is so sparkly and magnetic and also deeply entrenched in holding space for the truth and honoring the truth. [00:02:52] This is a heartfelt episode, so what I would recommend. If you're in a place to do so is you might wanna jot some notes down because John drops some beautiful wisdom nuggets in this episode. And the book that he authored is playing The Hand You're Dealt. And what I wanna share too, we talk about it in the episode, but I wanna highlight this 'cause it's really important. [00:03:12] John is giving everyone who listens to the episode a free gift, but it is not linked in the show notes. It is only available to those of you who listen. It's a special little surprise embedded in the episode that you have to listen to find, but it is a free gift from him to you. So without further ado, get ready to sit back, relax, and enjoy the beautiful wisdom of John Kippen. [00:03:35] ​ [00:03:36] Kippen, multihyphenate resilience and empowerment, coach magician, keynote speaker, author, and all around. Nice guy. Thank you for joining me today on the Don't Cut Your Own Bangs podcast. [00:03:47] Danielle: Hollywood legend wrote the forward of his beautiful book, playing the Hand You're Dealt Forward by the one and Only Take It Away, John, Jamie [00:03:58] John: Lee Curtis. [00:03:59] Danielle: Jamie Lee Curtis. Yes. So you have to stay and listen to the entire episode because he's going to tease out a special little giveaway that will only be revealed in the audio. [00:04:10] So you gotta listen. It's not gonna be linked in the show notes, folks. So buckle up, sit down. This is gonna be a great episode with a fun gift for you, a special little dose of magic hidden inside. So, John, you, I mean, all the different fun things that we listed about what you do. You're a magician, you're a motivational speaker, you're a coach. [00:04:30] What I know doing the work I do as a therapist is the skills and trade that you're building your life on. Those were skills that they were. Hard one, like nobody chooses, in my opinion and in my experience, no one chooses to go into a helping profession that hasn't needed help in their life. It's like the, our healing becomes our medicine. [00:04:54] And I really wanna learn about not just what you offer, but your healing journey that put you in the unique position you're in to do the work you do. So, welcome and I'd love to hear from you. [00:05:05] John: So just quickly, the Reader's Digest version of my backstory. Grew up Los Angeles, middle class family, two great parents loving, no sisters or brothers, had everything I needed. [00:05:18] They sent me to a nice school and, I got into theater, started doing theater, in college. I studied theater and became the big man on campus because pretty much I grabbed every opportunity that presented itself. Started a computer company out of college. 'cause I'm a creative problem solver. [00:05:38] That's the thread that goes through everything I do in my life. [00:05:42] Mm-hmm. [00:05:42] John: I look at a problem, I say, how am I gonna solve that? [00:05:45] Mm-hmm. [00:05:46] John: And then in June of July of 2002, I was diagnosed with a four half centimeter brain tumor called an acoustic neuroma. [00:05:55] Danielle: Yes. And this was, so it was slowly severing your brainstem? Correct. [00:05:59] John: It was displacing the brainstem. Causing not only hearing issues, but dizziness upon standing or walking. [00:06:07] Mm-hmm. [00:06:08] John: I had to have something done with it. I would not have survived. [00:06:12] Mm-hmm. [00:06:14] John: And. It was a whirlwind , I went and saw the doctor who finally diagnosed it after seeing him the MRI films, and he, he had no bedside manner. [00:06:25] I remember sitting on the examining room table, right. And the, the tissue paper is crinkling under my butt. Mm-hmm. I could feel the, I could sense the temperature. I'm heightened sensitivity. [00:06:37] And he looks up at the MRI after talking to a neurosurgeon, and he turns around and says, John, you have a four and a half centimeter brain tumor. [00:06:46] It's killing you. We're operating you on Friday. You're gonna go deaf in your left ear, and there's a possibility for some facial weakness. We're gonna do everything we can to prevent that. And he left [00:07:01] Danielle: the room. So he knew, and in his own. Brash in abrupt way, essentially prepared you for the outcome and challenges that would come assuming the surgery was a success? [00:07:17] John: Yeah. He is a world renowned acoustic neuroma surgeon. He's one of the guys you go to, when you have this kind of tumor and that's all he does. Wow. But he literally left the room and I'm sitting there and I didn't bring anybody in and [00:07:31] yeah. [00:07:32] John: A tip to anyone who's potentially going in for a serious diagnosis. [00:07:36] Yeah. [00:07:37] John: Bring a friend or a family member. [00:07:39] Because it goes in one ear and out the other, you're in shock. Right. Right. When you get home and you say, wait a minute, he said that surgery gonna be four hours or 14 hours or 20. How, how long ago and you have all these questions. Yeah. And you know, getting ahold of the doctor to ask them again is just not the way our medical system works. [00:08:01] He's back to back, to back to back patients. [00:08:04] So, I checked in the night before, they did blood tests and I tried to get an hour or two sleep, 6:00 AM my clockwork the orderly came in and said, okay, get naked, get on this cold gurney. What a sheet over you and we're going take you to the operating room. [00:08:21] Danielle: I wanna pause your story for a moment. 'cause there's a couple things that I, I wanna tease out a little. So one is you, the way that you tell your story, so well probably because you've told it on stages, you've shared it with others, you've written about it. There is something about a trauma. [00:08:37] That really marks the sort of BCAD of life. And the way you shared, I felt like I was in the room with you when you were getting this bomb of news dropped on you so you were theater trained, theater kid, a creative person, a creative problem solver, and a business owner. [00:08:57] Like I, I think about that often when people are experiencing trauma. What, what was life sort of the, the illusion of normalcy. The, the, you know, the predictability of this is my life and this is my to-do list and this is my calendar. So before that moment, you were just a guy on the west coast running a business. [00:09:17] Is that right? [00:09:18] John: Very successful business. [00:09:19] Danielle: And I, I just wanna share briefly too, I haven't met too many other only children. Theater background 'cause that's me too. [00:09:30] John: Oh, really? [00:09:31] Danielle: I'm an only child and I was a theater major and started acting when I was 13, so before. But, the creative problem solver, God, my theater background has paid dividends in ways I didn't know at the time. [00:09:42] I didn't know that when I was preparing for this interview, but now that you've said that, it's like that thing that I couldn't put my finger on has clicked into place. [00:09:49] John: I love doing improv. [00:09:51] Improv is the, you know, everybody talks about being in the moment. [00:09:57] Yeah. [00:09:57] John: What does that really mean, being in the moment? [00:10:00] When you do improv, you have to be in the moment. Otherwise you fall flat. And everybody, you're doing improv looks at you going. Well, it's your turn. [00:10:10] Danielle: You've tapped in. Now you've gotta say something. How are you gonna move the story forward? [00:10:14] Exactly. I feel most alive when I'm engaged in moments like that. And I, it's, I'm not a, a adrenaline junkie, but I would say that's my high, it's the, rush of connecting with somebody like that. So you were running a very successful business. This bomb has dropped. [00:10:32] You can barely remember what you were told and what your life is likely going to be. Assuming everything goes well, what is going to happen when you wake up off your op? And how long was your operation? [00:10:46] John: 15 hours. [00:10:48] Danielle: And the surgery was a success. They were able to remove the golf ice tumor. [00:10:52] Yeah. So they removed the fall sized tumor. [00:10:54] John: I didn't have time to think, you know, I got one of my guys who worked for me told him that he was gonna be running the company for a month or two. He agreed. [00:11:05] Mm-hmm. [00:11:05] John: Had to shovel up some more money to get him to do it, but, you know, it is what it is. You do what you have to do. [00:11:11] Yeah. And then,, I just tried to think positively, hope for the best. Plan for the worst. You know, I had someone gonna stay with me the first week, make food because I just wanted to recover and I didn't know what it was gonna be like. [00:11:27] Danielle: Yeah. You're like, I just need a week to recover, and then I'm just gonna hop back into life, hopefully. [00:11:31] John: Rolling the gurney into the surgical, prep area. [00:11:35] The nurse saying, Hey John, you know, we know we have to shape after your head. You want me to do it now or after you're under. [00:11:42] Danielle: So you didn't even know that they were gonna shave your head. Well, I didn't think about it. [00:11:48] John: I mean, if I had thought about it, I got a shaved part of my head. [00:11:51] Danielle: Right. [00:11:52] John: I said to her, please. [00:11:56] Danielle: Yeah. [00:11:58] John: And so, they roll me into the operating room. You got these really bright lights, , blinding you, and you're laying there and they're like, okay, you're gonna count back toward five. [00:12:09] The next thing I know, I hear faint voices and it was like I was 30 meters deep in a pool. Struggling to get to the surface. And I remember this like it was yesterday, literally trying to swim to the service to regain consciousness. [00:12:26] And finally when I got enough, I realized that my dad was sitting on the edge of my bed holding my hand, [00:12:34] and [00:12:34] John: he was smiling at me, but I didn't see my mom. [00:12:40] So I asked my dad for my glasses and he handed me the glasses. And I remember trying to put the, and then I realized my head's bandage. [00:12:48] Danielle: Oh, right. [00:12:50] John: So I had to figure out how to get the glasses in Cockeye to get 'em on my face, right? [00:12:55] And the look on her face was one of horror. What did these butchers do to my son's face? And at that point, I didn't know my face was paralyzed. Because I have full feeling, I just can't move it. [00:13:10] Danielle: So you currently, you still have full feeling in your face. You just lost mobility, [00:13:14] John: so I didn't really understand what that look was. [00:13:18] Danielle: Right. How could you? [00:13:19] John: And then my mom handed me her compact makeup. [00:13:22] And I opened it up and I'm like, holy crap. And then, I'm still getting [00:13:30] accustomed to, the one thing I noticed is leading into surgery, I was constantly dizzy and that dizziness was gone. [00:13:38] Danielle: Wow. [00:13:39] John: And that was like, oh my God, what a relief. [00:13:42] Mm-hmm. [00:13:43] John: So the doctor finally made his way in and I was like, so when's my face gonna move? And he said, John, we were, successful. [00:13:50] The tumors removed. Right when we were close the incision, your face stopped moving. But we think it's just to do the swelling, and once the swelling goes down, your face should start moving again. So I'm like, okay. I can handle that. That's a, it's not a permanent thing. I can deal with it. [00:14:05] So I'm in the hospital a week and, they're like, when you can do three laps around the hospital floor, without a walker, we'll send you home. [00:14:16] So that became my goal. I remember getting outta bed and then they said, no, no, no. Wait for the, I said, no. The doctor said that I need to rock three laps around. [00:14:26] I want to get the hell out of here [00:14:28] Five days I got home. My dad drove me home and I sat on my couch and now I'm like, okay, I can start healing and check email here and there. And I was taking lots of naps. And then I coughed and I touched the back of my neck and it was wet. [00:14:45] Mm. [00:14:47] John: Oh, it was a spinal fluid leak on the base of the incision. [00:14:51] Whew. [00:14:53] John: So immediately I called the doctor's office and the said, oh, get your ass back here. And I went back to the hospital three times with them to redo the bandaging to try to prevent the leak. [00:15:05] Danielle: Wait, you call the hospital. Hey, their spinal fluid leaking out of my surgical incision. And they're like, yeah, you should get in a car and drive yourself to the hospital. [00:15:16] John: They didn't say how I should get to the hospital. [00:15:19] Danielle: Okay. Fair, fair. But that, [00:15:22] okay. Wow. ' [00:15:24] John: cause that's not good. [00:15:25] And there was potential for getting, spinal meningitis in that. From what I understand is one of the most extreme pains out there. [00:15:35] Okay. [00:15:35] John: I went back and forth three different times over that week. [00:15:39] They tried to, it was just as right behind my ear, right at the base of the incision. So, there was no way that they were going to be able to, put a pressure manage to keep that and so it could start healing. [00:15:51] Danielle: Mm-hmm. [00:15:52] John: So they finally said, all right, tomorrow you're gonna come in and we're gonna, redo the incision and pull more belly fat outta your belly to fill the hole. [00:16:01] And Yeah. This time they used staples, man, thick Frankenstein. [00:16:07] All the way up. [00:16:08] But then I'm like, I was only in the hospital for a day. And then, and I'm like, okay, I can relax. I remember getting up and brushing my teeth, you know, and I'm looking at the mirror and God, , I don't recognize that guy. [00:16:24] Yeah. And I got rid of all the mirrors in my house. [00:16:30] I didn't want a constant reminder. [00:16:33] My face was screwed up. [00:16:34] Danielle: I, there's so much specificity to what is uniquely your story. [00:16:46] Mm-hmm. [00:16:47] Danielle: But what I have found is when people. Are able to share elements of their experience. It's when you go into the specificity of what you experienced. I can see myself in so many elements of your story in my own, like when we get in deeper, it becomes somehow more accessible and universal. [00:17:16] And in that way, you're not alone, even though it happened to you and that detail about your removing the mirrors from your home. It, it brings me to something I really wanted to ask you about. You share by saying, and then also , by, actually demonstrating in your TED talk that, once you began the healing process of really addressing your depression after your operation, that, the story, it led you to magic, literally. And I also think in a more magical way, beyond performing an illusion. And I know not to call it a trick, I learned that from arrested development. [00:18:03] But, there's something you said that I wanted to quote that it's amazing how accepting kids are of the truth. You open up your TED talk, which I will link in the show notes so people can see. But that you mentioned that this in a way that your permission and your humor and your honesty, it created levity and lightness. [00:18:27] For something that would be considered maybe so precious and heavy. And what I wanna speak to, and open up a question if that's okay, is, I'm curious what your relationship with the truth is because I think humor in its highest expression is allowing us to laugh at something that we see the truth in. [00:18:49] And yet it's this razor's edge between laughing at someone or laughing at something versus inviting us to laugh at the, the human experience that we maybe don't know how to name or express in another way. But I wanna know personally for you, what your relationship is with the truth and the value of embracing it. [00:19:13] And then in your line of work as a coach, where do you see people struggle with it? [00:19:19] John: Truth is an illusion. [00:19:21] Danielle: Ooh, tell me more. That just, that was a zingy response that you popped right out. Please tell me more. [00:19:28] John: Yeah. Truth. Everybody has their own truth. [00:19:31] Danielle: Oh, well there you go. [00:19:32] John: Their own perspective, [00:19:34] Danielle: uhhuh, [00:19:35] John: And the truth is formed out of your limiting beliefs. [00:19:41] Danielle: So the truth is formed out of your limited beliefs, [00:19:44] John: your limiting beliefs. [00:19:45] Danielle: Limiting beliefs. Okay. [00:19:47] John: Yeah. [00:19:48] I just wanted to take a slight step back. [00:19:50] Danielle: Mm-hmm. [00:19:51] John: I told you this was gonna be the Reader's Digest version. [00:19:54] Danielle: Yes. [00:19:54] John: But it took me 12 years [00:19:57] To come out of that hiding. Wow. 12 years. [00:20:02] Danielle: How old were you when you had your operation? [00:20:05] John: 33. [00:20:06] Danielle: 33. Okay. [00:20:08] John: And fortunately for me, I could work from home. But I miss so many celebrations with friends and family. 'cause I just didn't want to have to explain it. I didn't want to have to deal with the looks, , and I tell this story on my TED Talk and in my book. You know, at a restaurant I wanted to get a burger at Tony Aroma's. And I'm sitting there by myself and in a booth, and there's a booth right in front of me and there's a family with a kid, two parents and a kid. And the kid's squirming and gets up and turns around and is now on his knees on the bench and looking at me. [00:20:44] And he gets up and he comes over and he says, Mr, what's wrong with your face? And in that moment, I didn't want to have a five or 6-year-old come over and Right. And I'm like, okay, I had the strength to come out and go to a restaurant. I have to deal with this. So I started talking to this little boy [00:21:06] Danielle: Mm. [00:21:07] John: And saying, I had a medical procedure that caused me not to with my face before I could continue his mom grabbing him [00:21:16] mm-hmm. [00:21:17] John: The arm and drug him back and said, don't bother him. The nice man, he has enough troubles already. And I couldn't leave it there. [00:21:25] Mm-hmm. [00:21:27] John: So I had to go to the little boy and I knelt down and I got eye level and I said, I love my new face because it's different. [00:21:34] It's different just like yours. And I remember it like it was yesterday, he took his fingers and he tried to distort his face to be crooked like mine. And he turned to his mom and said, look, mom, I could do that too. And then he went back to eating his meal. His question was answered. [00:21:56] He had no judgment. And his parents were like, holy crap, did we just learn a lesson? How to raise our child? [00:22:03] They whispered, thank you on their way out. [00:22:07] Danielle: But there is something I, there, there's something to that woman's response to you that really resonated with me. [00:22:14] And it also, highlights the point you made so well about the, essentially the truth being relative. Because she projected onto you what her perception of your life was. Don't bother the nice man one, she didn't know you were nice, though. You are. But she didn't know that. Right. And she also didn't know what your troubles were or weren't, and she assumed that. [00:22:39] John: But I always wonder what her motives were. [00:22:41] Danielle: Right. [00:22:42] John: was it to make me comfortable or was it to make her and her son comfortable [00:22:48] Danielle: it for her? I think so. [00:22:50] John: And that's how I took it. [00:22:51] Danielle: I remember. So I have two children and I was pregnant once before and lost that pregnancy. [00:22:57] 12 weeks in. And I haven't thought about this in a very long time, but I remember going into, a annual doctor's appointment and she saw on the chart that I was listed as pregnant and clearly now was not. And it was in her own discomfort of not, she was asking me about the baby thinking, 'cause she was not my ob, GYN it was a different type of doctor. [00:23:20] And, she caught. Oh, and then I had sort of explained to her what that meant, and then she said, well, I'm sure, you blame yourself and I want you to know it's not your fault. Like she took her discomfort and tried to turn it into, she positioned herself above as someone who knew what he was experiencing and wanted to offer me this sympathy that was, one, she was wrong. [00:23:45] I totally misplaced. Yeah. I didn't blame myself. And it, that, that moment was such an extension of her own inability to hold the moment and the discomfort of the moment, and, tried to offer it up as a gift for me, which that's, yeah. [00:24:03] John: It's your perception of how you deal with that. [00:24:06] Danielle: Mm-hmm. [00:24:07] John: Losing a child can be. Empowering because you know that you can try again and get a child that is not gonna have any kind of defects and is gonna have a good life. And you know whether or not you believe in God or not. [00:24:24] Danielle: Yeah. [00:24:25] John: Things happen for a reason and we don't always understand the reason for them. [00:24:30] Danielle: I don't know if it, what the reason was, but I can say a gift from that was that somebody who lived with a very active monkey mind and a lot of head trash and some anxiety in the experience of the early grief, not for very long, but there was a moment in time where my mind was quiet, not numb, but quiet. [00:24:55] And it helped me realize, oh, there's the observer within me. Then there are the different conversations that are happening in my head that aren't me, which are maybe the perceptions that I call truth sometimes I wanna bring that same question of truth, which you had an answer I was not expecting, which I love when I never see it coming, so thank you. [00:25:18] Where do you see your clients? Because you're a coach, right? You are taking your healing and offering it as medicine to people that are trying to make a connection in their own life. So where do you see people that you work with? Struggle with the truth? [00:25:36] John: Everybody's hiding from someone something in their life. [00:25:40] They have buried something so deep and it keeps them from moving forward in their lives. 'cause it erodes their self-confidence. [00:25:50] That's what I learned through my love for performing magic. [00:25:58] Going to the magic castle, sitting at a table with a paralyzed face. [00:26:03] Yeah. I'm this overweight guy with balding, balding with a paralyzed face. And I could sit at a table and have people come to me. I tell this story sometimes, that the Magic Castle is a place where you have to get dressed up to the nines, you know? And women love to get dressed up [00:26:22] Danielle: That's true. [00:26:23] John: They're wearing their best outfits, right? And all of a sudden I'd have five or six women sitting at the table, and their reactions are very guarded. [00:26:34] Hmm. [00:26:36] John: You know, they're sitting there with their legs and arms crossed. [00:26:39] Hmm [00:26:40] John: they're leaning back. They have a smile that's just more of a grin. [00:26:45] Mm-hmm. ' [00:26:47] John: cause I don't know what I'm about. Sure. They don't know if I'm gonna be inappropriate, if I'm gonna come onto them, if I'm what it is. So they have no expectations other than they're gonna see some magic. [00:26:58] Mm-hmm. [00:26:59] John: So I start my act saying, hi guys. My name is John and I'm doing magic all my life. [00:27:05] But in 2 0 2 I had a brain tumor. And when they cut over my head, they traumatized medication, nerve offense, a paralyzed face. But something happened to me on that talk table that day, Danielle. [00:27:16] Mm-hmm. [00:27:17] John: I'm not sure what it was because I was unconscious. All I know is I recovered. I realized I had acquired some new skills and I pause. [00:27:29] Yeah. And I wait for everybody to get on the edge of their seat. Like, what happened, John, what? Skills. Skills I could acquire. I'm having brain surgery. [00:27:40] Mm-hmm. I [00:27:41] John: looked to my right and I looked to my left like it's the biggest secret. [00:27:45] Lean in and I whisper in a loud voice as I am able to visualize people's thoughts. And then I do some mental magic mentalism. Love it. And what I just did was I turned my biggest challenge into a superpower. [00:28:07] Danielle: Yes, you did. And I wanna pause you because when you said that in your talk, have, have you read Elizabeth Gilbert's book, big Magic? [00:28:15] Yes. [00:28:15] Danielle: When she talks about trickster energy, I was like, John Kippen is a freaking trickster. [00:28:22] That is trickster energy that you can shift. Before someone's very eyes. It's like you are performing magic and you are performing magic. You shifted before them and you invited them, your audience to see beyond their own limiting beliefs, their own projected truth. [00:28:47] John: They were distracted. They wanted to know why it was paralyzed, but they couldn't ask, did he have a stroke? Did he have be palsy? What was the reason? So I found them being distracted when I was performing. So I got that outta way in the first two minutes. [00:29:00] Mm-hmm. [00:29:01] John: I explained why my face is paralyzed. [00:29:03] And now I treat it as the experience is now I'm able to do superhuman things. [00:29:10] And now they're like, okay, cool. So as I perform [00:29:16] I focus on the spectator. Magic happens in your mind as a spectator. [00:29:22] Danielle: Oh, I love that magic happens in your mind [00:29:26] ​ [00:29:31] If you've ever wanted to start a journaling practice but didn't know where to start, or if you've been journaling off and on your whole life, but you're like, I wanna take this work deeper, I've got you covered. I've written a journal called Treasured, a Journal for unearthing you. It's broken down into seven key areas of your life, filled with stories, sentence stems, prompts, questions, and exercises. [00:29:51] All rooted in the work that I do with actual clients in my therapy sessions. I have given these examples to clients in sessions as homework, and they come back with insights that allow us to do such incredible work. This is something you can do in the privacy of your own home, whether you're in therapy or not. [00:30:10] It has context, it has guides. And hopefully some safety bumpers to help digging a little deeper feel possible, accessible and safe. You don't have to do this alone. And there's also a guided treasured meditation series that accompanies each section in the journal to help ease you into the processing state. [00:30:29] So my hope is to help guide you into feeling more secure with the most important relationship in your life, the one between you and you. Hop on over to the show notes and grab your copy today. And now back to the episode.​ [00:30:44] John: Magic is what you see in your mind or someone else sees in their mind. [00:30:49] Magic is that thing that immediately makes you present. [00:30:56] Danielle: Yeah. [00:30:57] John: And your, all of your sensors are now in a heightened state , whether it's a sunset or a beautiful beach or a beautiful woman or a magic trick or whatever it is, there's that sense of awe and wonder. [00:31:15] So as I would start to take each spectator, I would learn their names. [00:31:19] And I would use their names throughout the show. [00:31:22] Danielle: People love that. [00:31:23] John: People, I ask them, the one word in everybody's language that they love to hear the most is their own name . and so I use that as a way of engaging the audience. [00:31:33] They start leaning in and now they've got real smiles on their face [00:31:37] and I can literally see this wall that women in today's society are forced to put up as a self-protection mechanism. [00:31:45] Yeah. [00:31:46] John: I see this wall start to grow as they start to identify with me and they're like, I'm okay being myself. [00:31:54] And then the end of this [00:31:56] they're asking permission to hug me. [00:31:58] And , having a creative mind, I wanted to understand. What that is. What that, what was going on. [00:32:06] Danielle: You also, not only through performing magic, inviting the curiosity you could see in other people's faces into your opening act essentially, or your sleight of hand. [00:32:17] I'm gonna show you this over here so that you can not see what's coming here. Vulnerability in its purest form is magic because it's the one thing sharing the story you feel like you couldn't share. Letting somebody see the one part of you that you would never let anybody see 'cause you were so utterly convinced you would be outed or you would be cast out by exposing that vulnerability is the birthplace of true connection. [00:32:47] Yeah. Which is the ultimate magic trick. It's, it's like what they say in nightmares, if you stop and face the thing that's chasing you, it, it can't chase you anymore in the dream. And so you spent a decade, did I remember that correctly, you wanted to be a main stage performer at the Magic Castle? [00:33:06] It took you about 10 years and you did it. [00:33:08] John: I did. [00:33:09] Yeah. [00:33:09] Danielle: 10 years. [00:33:11] John: Yeah. [00:33:12] Danielle: 10 years. [00:33:13] John: It was my creative coping mechanism. I had hit rock bottom, was I suicidal? No, not really. But I was unhappy. [00:33:25] Danielle: Yeah. [00:33:26] John: I was, my girlfriend left me, and, fortunately I had a job that I could focus on. But I needed something more. And through sharing something so personal and tying magic into it and making it a positive instead of a negative [00:33:45] people are attracted to it. [00:33:49] Danielle: Yeah. Well, because you're holding fire in your hand. Yeah. You're not just saying it's possible, but you're living. You're turning it into a performance, which I think for an artist is one of the most selfless, beautiful acts. [00:34:11] John: It's what separates great artists from mediocre artists. What is he giving me to care about? [00:34:18] Danielle: I never thought about that with magic. What are they giving me to care about? [00:34:22] John: Yeah. What do I want them to think when they leave the theater? [00:34:27] Ability to put your own life in perspective. If John can, so can I. [00:34:33] That's my true message. [00:34:36] Any different is your superpower. [00:34:38] Now, my facial paralysis does not have to define me if I don't let it. [00:34:44] You know, Danielle I live my life that it's better to ask for forgiveness than permission. [00:34:51] And that's bit me in the butt numerous times. [00:34:54] Danielle: I can also say the opposite, can bite you in the butt. I think I waited probably too long, many times for permission that wasn't really coming because no one can ultimately grant it. Right? Like, if there's a path you wanna carve, like the job that you built, all of the different things that you've done, there's no resume posted on LinkedIn. [00:35:15] No one's hot. Like that's an empowerment coach slash magician slash keynote speaker, slash documentarian like that. You have to get curious and still, and listen to that little voice inside and follow that curiosity to a path that may not make sense for anyone for a really long time. And I didn't do that. [00:35:40] And that can bite you in the butt too. 'cause regret's hard to hold. [00:35:42] John: Alex SBE came out on national television [00:35:45] to his fans, to the world and said, I'm scared. I am fighting the battle of my life and I'm gonna ask for everyone's good thoughts and prayers . of what I'm going through. I reached out to Nikki Trebek, Alex's daughter and I said, Nikki, I need to perform for your dad . we're having a 75th birthday party and we don't have any entertainment. [00:36:13] So if you wanna be the entertainment, and I was like. Damn. Yes. [00:36:18] Danielle: Well, yeah. I will go to his house and perform magic for him. a [00:36:22] John: restaurant, but [00:36:23] Danielle: Oh, a restaurant. Okay. [00:36:23] John: Wrote a unique magic show [00:36:25] With Jeopardy themes and the whole nine yards and he was actually at the table as one of my assistants. [00:36:33] Oh. Along with his daughter. so he was this, he needed to understand how things worked. [00:36:39] Was a genius. And so he was constantly looking at me like, wait a minute. That's not possible. Just embrace it, Alex. You're not gonna figure it out. Just enjoy it. [00:36:52] Danielle: That's awesome. [00:36:54] John: And there's, on my website, john kipp.com. There are some magic videos and there are two videos of me performing for Alex , sat with him, and I said, Alex, I need to share something with you that, when you came out so publicly about your diagnosis [00:37:10] I asked for everybody's support and love and prayers that resonated with me. I am here to give to you. You've been a part of my life and the lives of millions of people. [00:37:27] And your life's work is meaningful. [00:37:30] I just wanted to tell you that, 'cause I had a feeling that no one ever takes the time to say thank you for your life's work. [00:37:37] And he immediately started welling up. [00:37:39] Danielle: Well, anybody who makes something look easy that we do take for granted. [00:37:45] And I think that, like I appreciate so much in the telling of your story, you share not just the struggles, but the time you had a vision of yourself. On the main stage performing at the Magic Castle, like the most elusive place where magic is. And you didn't just wanna get in, you didn't just wanna get an audition, you didn't wanna just like get to per perform an illusion, like main stage. [00:38:23] You didn't just have a goal. You had the goal and you did it, but you also say that it took you 10 years. And there's usually themes that run with anxiety, about not enoughness and the crunchiness of time. There's never enough time. I'm not enough and there's not enough time. And not being worthy. [00:38:42] Yes, yes, yes. One of my main motivations when I started this podcast originally several years ago, was I was. Starting to increasingly feel, trapped in this sort of, world of before and after story. And it was no longer feeling inspirational. It was just another measuring stick for how not enough. [00:39:03] Yeah. 'Cause it, it's great to see where somebody was and where they are, but when I'm knee deep in my own struggle when I'm the caterpillar goo and the chrysalis, and I'm not the shiny butterfly, but I'm also not the caterpillar anymore. What do I do when my life is literally a shitty pile of goo this is something that most clients don't come right out and ask me like in sessions one, two, and three. But it inevitably comes well, I've been doing this for, so many months. How much longer is it gonna take? How long is it gonna take? And I just always, I appreciate when people can acknowledge. [00:39:41] The time and consistency that goes into healing [00:39:47] John: joy is in the journey. [00:39:48] Danielle: Mm. [00:39:49] John: Not in the destination. [00:39:51] And that's the thing I really focus with my clients. [00:39:55] I have clients come to me because they're holding themselves back in their life. [00:39:59] And it's my job to get that out of them by asking open-ended questions, by building a rapport, I can trust this guy. [00:40:08] Danielle: Yeah. Would you say that's your superpower as a coach? [00:40:11] John: Through my journey of reverse engineering who I am and who I wanted to become. Coming out the other side immediately understood that it's not about me. [00:40:24] Danielle: Yes. It's only true every single time. [00:40:27] John: The joy comes from helping others get that realization, [00:40:32] That they understand they are truly powerful and have a chance to shape their destiny. [00:40:40] That's why I talk about limiting beliefs. [00:40:43] And we grow up with our parents or whoever raised us, those are our belief systems. [00:40:49] And so that's what forms who you are. You stop dreaming. [00:40:54] That's what midlife crisis is all about. [00:40:58] Danielle: Yeah. [00:40:59] John: We got educated, we got a job, we built a career. We have a family. [00:41:06] Danielle: It's, I think the version of that I hear in my sessions is essentially I did everything right. Shouldn't I be feeling better than I am? Yeah. Like, I followed all the rules. I'm winning. Why does it not feel like I'm winning? Yeah. And finding our way back to that. [00:41:29] The unlearning and the unraveling. That is a, it's a process. [00:41:34] John: I'll talk to a friend. How you doing? And so many people respond automatically living the dream. But is it your dream? You're living? [00:41:46] Whose dream are you living? Because you're wasting your life by living someone else's dream. And that's why you get to that point in life where it's not enough. [00:41:58] Cause it's not your dream. You just finished the last 30 years building. [00:42:03] Danielle: Yeah. And the joy really is in the process and there's no way to enjoy the process of fulfilling the wishes of somebody else because you, what you're constantly chasing is when I get there, then the relief will come and then you're there and you're like, well, where's my pot of gold? [00:42:22] John: Yeah. I had, I spent 20 years learning how not to hide my face. [00:42:28] And what happened in March in 2020? The pandemic hit [00:42:33] now covering your face with a mask, became not only politically correct. [00:42:41] But government mandated and I'm like sitting there thinking to myself, what do I do? So I found a company who prints things on masks and I sent them a picture of my face and a picture of the lower part of my job. [00:43:01] Danielle: Trickster energy, John Kippen trickster. That's the new hyphen to your list of all of your accomplishments. [00:43:08] John: I would walk around and strangers would look at it and not understand. [00:43:12] Danielle: Right, right. But people who knew me [00:43:15] John: would do a double take. [00:43:17] Danielle: I will not hide. [00:43:19] John: Refuses to hide. [00:43:20] Even through a global pandemic. [00:43:23] Yeah. [00:43:23] John: I'm gonna live my life [00:43:25] Danielle: mm-hmm. On [00:43:26] John: my own terms. [00:43:28] Danielle: Yeah. I work too hard, too long to get free and I will not hide for you. Wow. Wow. And [00:43:37] John: when I share that story, people like, wow, John's done some soul searching. [00:43:44] Danielle: Which is why your clients come to you. [00:43:46] John: Yeah. [00:43:46] Danielle: Yeah. I unfortunately have come across many. People in the helping profession that haven't started with their first client, which is themselves. I put myself in that camp. I've talked about it on the podcast before, but I didn't start seeing a therapist until I became one, which is probably not the right order, but I didn't realize until I was sitting there trying to help people. [00:44:09] And then my own stuff was getting activated in the session. It's called Counter Transference. And, yeah, I was like, oh shit, I gotta look at the mirror. I gotta do a little more digging. But I think a, what leads a lot of people into helping professions is its desire to heal. And it sounds like in your case you did the herculean task of lifting your own self up before you said, now what can I offer you? [00:44:39] I wanna ask, just a purely curious, selfish question before we get to the very end I wanna ask. In your book playing the Hand you're Dealt how did you connect with Jamie Lee Curtis? The same way you did Alex Trebek? Did you just find someone and you DMed them and [00:44:55] John: you're like, her assistant worked for a production company [00:45:00] in a previous job. [00:45:02] Danielle: Gotcha. [00:45:02] John: That I knew. [00:45:03] When Jamie was like, I need it. So help with my computer. Her assistant said, I've got the guy for you. And I remember being at Jamie's house. [00:45:15] She knew me before my facial surgery, and after. [00:45:18] Danielle: So you have a history then? [00:45:19] John: Oh yeah. We met in 2000. [00:45:21] Danielle: Oh, okay. [00:45:22] John: So she saw me before. [00:45:24] She saw the struggle. Sure, she has two. Great kids. [00:45:29] And she adopted me as her third child. Wow. She saw the ability to help me. And so I had a filmmaker friend of mine reach out and said, John, I'd love your story. [00:45:45] I want to film a documentary on you. And I'm like, cool. So I realized I'm paying for the damn documentary. [00:45:51] Danielle: Oh. So I wanna offer you this gift, and by the way, here's the bill. [00:45:55] John: Yes, exactly. But at that point, I'm all in and I'm like, what do I have to lose? I'm a risk taker. I can afford it. [00:46:01] I've got money in the bank. [00:46:03] Let's make sure we stay on budget or close to budget, so there I am working on Jamie's computer and I'm staring at the screen and I'm summoning the courage. Ask Jamie. So I'm telling her the story. My friend Ryan's gonna direct this documentary about my life and my journey, and then I pause and I'm just staring at the screen. [00:46:23] I feel these eyes burning into the side of my head. [00:46:26] Mm-hmm. [00:46:28] John: And Jamie says, and [00:46:32] Danielle: I love that she didn't do it for you, but she made you do it. [00:46:36] John: And then at that point, I realized what the question was. I said, Jamie, will you be in my documentary? [00:46:44] And she goes, fuck yes, I will. [00:46:48] Danielle: Yeah. [00:46:49] John: She gets it. [00:46:50] Yeah. [00:46:51] John: Going through her sobriety, she wears her sobriety on her. Shoulder as a badge of honor. [00:47:00] And that is her message. [00:47:02] Yeah. [00:47:03] John: If she can get people to stop drinking by showing up for people. That's her ultimate goal in life. And so, she saw in me what I didn't see, [00:47:18] Danielle: and you asked the question. I think it's a lesson that I feel like I'm eternally playing a game of peekaboo with where I forget, and then I remember and then I forget and then I remember. But like the opportunities that you're asking for, you have to ask. [00:47:39] Yes. You have to say the thing. Right. Which is so brave and so vulnerable. But then the magic is sometimes when you ask, someone will say Yes. Now, in your case, she was essentially lovingly poking you until you, [00:47:55] John: asked. There was a point where I was debating plastic surgery. [00:48:00] Did I want to try to fix my face? Because at the end of the day, I wanted symmetry at rest. I wanted to be able to get rid of the droopiness and just, have a symmetrical base. That's all I really wanted. Sure. And because I would say, I hit my smile. And I've had friends come up and say, John, your first smile, we love your smile. [00:48:23] But I didn't love my smile. And until I, not up here, not in my head, but in my heart, accepted my smile. I couldn't move forward. I couldn't heal. And once I accepted my new smile, I found joy. I found that I could love myself. [00:48:46] And what's funny is when you get to that point, [00:48:49] yeah. [00:48:50] John: You overcome whatever that thing is that's holding you back. [00:48:53] Yeah. [00:48:54] John: And you want to share it with every person you come in contact with. [00:49:00] Danielle: Yeah. You are the love you're seeking. [00:49:02] John: Yes. Yes. And you are your acceptance. [00:49:05] Danielle: It reminds me of, something. He said in an interview, in, A New Earth, but author Eckert Tolle said that right before his essential death of the, he called it the death of his ego, but we could call it enlightenment or rebirth. [00:49:19] But he remembers the last thing he said before he went to sleep was, I can't live with myself anymore. And it wasn't about in the interpretation , of , taking one's own life . but what he realized is that he couldn't live with the self that was hating him. He couldn't live with that self. [00:49:40] And that self never woke up. But he did. [00:49:45] John: Through my journey [00:49:46] Of coming to accept myself for who I am. I immediately see others. [00:49:53] Yeah. [00:49:53] John: How they're hiding. [00:49:54] Before they recognize it. And so my coaching is all about not saying, this is why you're hiding. [00:50:03] That's what's holding you back. [00:50:06] Danielle: What you said about once you, you see somebody's wall so clearly because you understand your own so well. My less eloquent way of saying that to clients, it's once you smell bullshit, you can't unm it. It's the scent in the air and you're like, huh, what am I smelling? [00:50:23] Oh, it's bullshit. Well, John, I would love to know your, don't cut your own bang moment. [00:50:30] John: I'm backstage. There are a thousand people in the audience and I had theatrical training I had a talk memorized. It had to be 12 minutes long. [00:50:39] I'm doing a magic trick with other people that are coming up stage. I needed to control that. I got there early the morning of the TED Talk and helped the guys focus the lights so that it looked better. I'm all in. I want to shine in this TED Talk. , I remember I'm going up on stage and I'm saying, to the cherry picker operator, can I give you a hand? Because I have lighting experience. And I expected the presenter come and say, no, John, you're the actor. Go in your, the green room and there's some donuts and coffee , and we'll call you already, but you didn't. She knew that I was there to make the entire event better. And she let me do it, [00:51:18] That's awesome. [00:51:19] John: This is my first real speech. Okay, in front of a thousand people. And I knew that I had a limited time to get the audience on my side. [00:51:30] Get the audience engaged. How was I gonna be able to break their, going through their phone, talking to a neighbor, drinking, eating, snacking in a full day of speech? [00:51:41] Yeah. [00:51:43] John: So I said, I wanna go first. And everybody has said, great, but we don't, you can go first. And right before the mc went on stage to introduce me. I did a magic trick war. I turned Monopoly money into real money and then back again. [00:52:00] So as a magician, everything was possible. I turned monopoly into real money, but then I realized that's actually called counterfeiting he stays out for like seven seconds. I did that to the mc and now he just saw a miracle happen. [00:52:16] So he turns around and walks on stage beaming, and he told that story to the audience and said, Hey guys, your next speaker just did a miracle. He turned monopoly money into real money in front of my eyes. Pay attention to this cat. [00:52:37] Yeah. [00:52:38] John: So I walked on that stage. I had the love of everybody in the audience that everybody wanted to see what I was gonna do. [00:52:46] Everybody wanted to hear what I was gonna say, so I didn't have to warm up the audience. I got the mc to do it for me. Genius. And I do that every time I speak because it works but anyway, three quarters of the speech, I'm standing on my red circle and I'm delivering my talk. [00:53:08] And the front lights go out. [00:53:10] Danielle: Wait, you were three fours of the way done when they went out. [00:53:13] John: I'm standing in shadows. And my first reaction was, whoa. That Whoa. Got the lighting guy to realize, holy shit, I hit the wrong button, and he brought the lights slowly back up. [00:53:27] As the lights went back up, I went magic [00:53:32] and so I got an amazing laugh from the audience. [00:53:36] Because I cut the tension, I was doing improv. [00:53:38] I remember walking off stage and the producer of the event said, John, don't worry about, we'll edit that part out. And I said, don't you dare. That was my finest moment. Don't you dare edit that out. [00:53:54] I want that in the video. [00:53:57] She just smiled as I went back to the dressing room and sat down and then the adrenaline was like, whew. Walking out into the audience after the event and having strangers just come up to me and wanna hug me and say, holy cow, I resonate with your message. [00:54:18] And my message on the TED Talk was, treat people are different with respect to compassion. [00:54:23] That's what TED talks are all about. You want one key message and that was my message. [00:54:27] You never know, you might be in their shoes in an instant. [00:54:34] Danielle: I wanna add to that, another way to speak to the value of doing some self investigation, whether that's through journaling, through therapy, or seeking out a coach from someone like yourself is, because that expression of, treat other people the way you would wanna be treated. [00:54:53] What I know is that we don't treat ourselves all that well. A lot of us, many of us don't treat ourselves well, which is why accessing the compassion. Of treating others kindly is sometimes harder for us to find, jumping to criticism or judgment, because there's something we are rejecting in us. [00:55:13] So I think a way to do the thing you're saying , that beautiful treat others with kindness and compassion. The best way to do that is to look within. And I invite anybody listening to go to the show notes, visit John's website, seek out a coaching call, grab a copy of his book. There are resources that can help you be kinder to yourself, to lowering the walls, to lifting the veil, to seeing yourself in a new way, to performing the ultimate illusion, which is [00:55:52] to love yourself more fully exactly as you are so that we can be kinder to each other. 'cause we need that, we need a lot more kindness. [00:56:00] Thank you, John. Do we have the information we need for our listeners to get the special code? [00:56:06] John: John kipping.com. [00:56:08] Slash free gift. [00:56:11] Danielle: Ooh, you heard it here. John kipping.com/free gift. And this is only the gift for those of you who have listened this far. [00:56:20] So if you listen to the beginning and you just try to skip to the show notes, sorry. You ain't getting a gift. Thank you, John. [00:56:28] Thank you so much for joining me on this incredible episode of Don't Cut Your Own Bangs. I hope that you love listening because I thoroughly enjoyed making it. My favorite episodes are the ones where I get to learn something too. I'm also a listener. And benefiting from the wisdom and insights of all of the experts, creatives, performers, adventurers seekers that I get an opportunity to meet in this podcast format. [00:56:56] Don't forget to check out the show notes and please before you sign off , always remember rate, review, subscribe to the podcast when you interact with the podcast. It just helps send it out like a rocket ship to other people that are looking for the same value that you are. And it also helps create a conversation where I can continue to develop and cultivate something that benefits you more and is more fun for you to listen to. Feedback is great, and also if you just wanna throw a compliment, that's sweet too. But thank you so much for being here. [00:57:26] Your intention, your time mean the absolute world to me, and I hope you continue to have an incredible day. [00:57:32] ​

Patrick shares what to expect when visiting a Catholic Mass for the first time, explains the profound effect of going to confession, and offers advice on engaging in faith discussions with others. Patrick explores how the process of electing a new pope works and addresses common misunderstandings about the Catholic Church. Whether someone is curious about Catholic practices, looking for answers to tough questions, or seeking to strengthen their faith, Patrick delivers insights and encouragement to guide the journey. Aaron (email) – I’m debating going to church for the first time ever this weekend. Will I be allowed into a Catholic Church service? What can I expect? (00:54) Agustin (email) - Yesterday, you had a caller who had a problem to the effect that his betrothed was stuck in Mexico due to a work visa problem. I can sympathize. As a U.S. Border Patrol Agent, I can suggest a faster and potentially easier way to resolve the issue. (12:25) Peter - Medical treatments that have contraceptive side effects (14:29) John - My brother invited me to go to an event to discuss Catholicism at a non-Catholic Church. The Pastor wanted to talk with me in person about the Faith. Should I talk with him in person or not? (21:40) Thomas - Evangelizing Protestant Pastors: I think just reciting the creed is helpful when talking with protestants. I talked with someone who thought we believed in three gods as Catholics. (29:02) Joanne - I went to confession over Easter after years of not going. It was amazing! (35:49) John - How can they choose a pope since the Cardinals are all from different cultures and political backgrounds? What is the interplay between spiritual and political in the conclave? (38:40)

Patrick explores the powerful intersections of faith, personal growth, and overcoming adversity. He celebrates stories of transformation, from those finding faith in unexpected places to the incredible support from listeners during the pledge drive, surpassing the $3 million goal. He highlights the evolving job market, noting the crucial need for AI skills to future-proof careers. Patrick shares inspiring testimonies from callers who find solace and healing through faith and Relevant Radio. North Dakota lawmakers introduce legislation to acknowledge Jesus Christ as “rightful ruler” (3:15) Thomas - I just became Catholic and I just got out of prison. Your show helped me become Catholic. (5:48) John - How do Catholics look at the gift of prophecy? (18:32) Joe - What should one do if they are very sick, praying for healing, but don’t receive answers. (21:49) Global A.I. Reality Check: No Skills, No Job In 2025 (28:33) Ann - I went through chronic pain much like the previous caller. Say prayers of thanks when you feel even a little better (38:45) Al – I prayed the Memorare and was healed. Thanks to you for sharing this. (44:20)

Trump EO on gender misidentity. TikTok CEO! RIP Cecile Richards. Lorenzo Sewell and MLK go black. Elon Musk's "salute"?The Hake Report, Tuesday, January 21, 2025 ADTIMESTAMPS* (0:00:00) Start* (0:01:21) Bigg Bump yesterday: Farmers vs Civil Rights* (0:03:43) Trans identity, beach* (0:05:21) HEy, guys!* (0:08:13) Trump EO: Gender dys-identity* (0:17:04) Trump billionaire inauguration! TikTok!* (0:25:20) RIP Cecile Richards* (0:40:33) MLK-style Lorenzo Sewell* (0:49:42) Actual MLK: Don't let anybody make you feel like you're nobody* (0:53:52) JOHN, KY: MLK real, Lorenzo Sewell* (0:59:43) JOHN: Elon Musk, N-word* (1:08:27) JOHN: How you get people to agree?* (1:11:03) TERRI, OR: MLK Day* (1:32:42) JASON, MI, 1st: Jesus, people's mistaken beliefs* (1:37:13) RICK, VA: Slavery, Egypt, Adam and Eve mixed, Evil* (1:44:27) Coffee: Popcorn says FUD: Fear, Uncertainty, Doubt!* (1:49:17) Rigo Tovar - Mi Matamoros Querido - 1972LINKSBLOG https://www.thehakereport.com/blog/2025/1/21/the-hake-report-tue-1-21-25PODCAST / Substack HAKE NEWS from JLP https://www.thehakereport.com/jlp-news/2025/1/21/hake-news-tue-1-21-25Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/showVIDEO YouTube - Rumble* - Facebook - X - BitChute - Odysee*PODCAST Substack - Apple - Spotify - Castbox - Podcast Addict*SUPER CHAT on platforms* above or BuyMeACoffee, etc.SHOP - Printify (new!) - Spring (old!) - Cameo | All My LinksJLP Network:JLP - Church - TFS - Nick - Joel - Punchie Get full access to HAKE at thehakereport.substack.com/subscribe

(12:40) Bible Study: Hebrews 5:1-10 How can Jesus be both priest and king? Father Simon answers this. Mark 2:18-22 Father explains Jesus’ explanation to the Pharisees and disciples of John. (23:40) Break 1 (26:13) Letters: Father shares why there were six stone jars at the wedding feast of Cana and what it means to have a valid marriage in the Catholic Church. Father Simon answers these and more questions. Send him a letter at simon@relevantradio.com (35:14) Break 2 (36:08) Word of the Day: Manifestation (44:48) Phones: Donna - Is priest cheating by using popular homily book? John - How do you equate your priesthood with priesthood of Aaron and Melchizedek? Betty - Mary. Since Mary was born without original sin, did she have birth pains or painless?

JLP Thu 12-5-24 Bible Thumper Thursday HOUR 1 Trump is untouched. Biden asleep. Judgment. Supers. // HOUR 2 Calls, Supers. "The children." Anger. // HOUR 3 Satanic school. Calls. Crying: Living sacrifice. // Biblical Question: Have you discovered the traitor in you? Men's Forum TONIGHT https://rebuildingtheman.com/events/ TIMESTAMPS (0:00:00) HOUR 1 (0:05:11) Bible Thumpers (0:07:37) Devil doesn't know he's the Devil (0:16:21) Trump remains untouched (0:26:21) Biden sleeping (0:32:22) TFS, Men's Forum, Counseling (0:34:37) MICHAEL, TN, 1st: Judging a guy at work (0:43:46) Knowledge. Supers… In love. N-word (0:55:00) NEWS, End Hr 1 (1:01:08) HOUR 2 (1:04:22) REINO, MN, 1st: Covid testimony (1:11:11) JEFF, MO, 1st: Knowledge, "power." That's dumb! (1:21:46) JOSH, GA: BQ, practical thoughts? (1:31:38) Cameo, store, donate (1:35:38) Supers: Son of God. Long-haired boy? (1:41:43) RAYMOND, CA: Called to local school politics? "The children…" (1:45:56) "MARCUS," Houston, 1st, phony guy cussing (1:50:26) JOHN, NH, 1st: "The letter killeth." Who is John? (1:55:00) NEWS, End Hr 2 (2:00:58) HOUR 3 (2:03:29) Satanic Temple HAIL program in Ohio school (2:09:32) JOHN: How do you know you're a spiritual being? (2:13:39) WILL, GA, 1st… Image of Jesus: Trump! Perfect peace? (2:20:20) COLIN, Canada… BQ, appreciation (2:25:21) PAUL, IN: Jesus is the Son, not the Father. (2:32:11) JLP Network, bet on UFC? (2:34:47) KENDRA, CA, 1st: Crying, "ego death," taking it out on kids? (2:45:39) Supers: Job 38: 1, Obscure… with words without knowledge (2:46:35) DELON, NY, 1st: blacks, Judah, Judas, betrayal? (2:49:31) ALBERT, Philly, 1st, Bible thumper, "greater works" (2:54:51) ARDENE, CO: Why favor Trump, disrespectful to his wife! (2:56:46) Closing

Resetting the Nervous SystemIn this episode of the Dr. Gabrielle Lyon Show, we dive deep into groundbreaking approaches for treating PTSD, anxiety, and depression with Dr. John How, an emergency physician turned mental health advocate. Dr. How introduces us to the Stellate Ganglion Block, a powerful and non-invasive procedure that's transforming how we manage trauma and mental health without relying solely on medications.We explore:What the Stellate Ganglion Block is and how it worksIts effectiveness in treating PTSD, depression, and anxietyThe connection between the autonomic nervous system and mental healthHow Dr. How's personal journey with burnout and trauma led him to discover this life-changing procedureThe future of mental health treatments, including ketamine and regenerative medicineIf you or someone you love struggles with mental health challenges, this episode offers insight into innovative treatments that can provide long-term relief.Who is Dr. John How?Dr. John How is an accomplished board certified emergency medicine physician with a passion for healing trauma and aging in both the mind and the body. He is the founder, and medical director of The How Clinic in Encinitas, CA where the focus is on treating the root cause of his patient's problems. He and his team at The How Clinic use traditional and functional medicine combined with cutting edge treatments for pain and injury to combat the symptoms and causes of trauma and aging. These treatments include nerve hydrodissection, regenerative medicine therapies, hormone and nutritional optimization, as well as therapies to address sexual dysfunction. He is a Medical Director at Stella Center, an interventional psychiatry practice. He and the team at Stella specialize in providing a world class combination of evidence-based treatments targeted at treating depression, PTSD, and chronic anxiety. These treatments include Spravato, ketamine infusion therapy, transcranial magnetic stimulation (TMS), an advanced stellate ganglion block (SGB) called the dual sympathetic reset (DSR), and integration therapy. Apply to become a patient - https://drgabriellelyon.com/new-patient-inquiry/ Join my weekly newsletter - https://institute-for-muscle-centric-medicine.ck.page/2ed23e2860 Get my book - https://drgabriellelyon.com/forever-strong/This episode is brought to you by :Manukora - Code DRLYON for $25OFF Starter Kit! - https://manukora.com/DRLYONZocDoc - Book your FREE Appointment Now! - https://zocdoc.com/DRLYONARMRA - Code DRLYON for 15% OFF! - http://armra.com/DRLYONAG1 - Code DRLYON for FREE Welcome Kit and Starter Packs! - https://drinkAG1.com/DRLYONPuori - Code DRLYON for 20% OFF - https://puori.com/DRLYONFind Dr. John How at:Youtube: https://www.youtube.com/@StellaTraumaCareWebsite: https://thehowclinic.comTikTok: http://www.tiktok.com/@thehowclinicFind me at:Instagram: @drgabriellelyonTik Tok: @drgabriellelyonFacebook:...

Patrick tackles some fascinating questions about attending a Maronite Mass and the validity of their sacraments. He also delves into the history of the Church of England and King Henry VIII's departure from the Catholic Church.   Betty - Can I go to a Maronite Mass? (00:35) Barb (email) – My stream got cut off while you were talking about 9/11 Michelle - I came across a Satanist at my Walgreens. (09:45) Paul – Is the location of the tabernacle in a church important? (20:20) Lydia - What does 'Blessed' mean for someone in the process of canonization? (32:19) John – How can I help my friend who is skeptical about the Ascension? (43:01)

Father John Eckert joins special guest host Brooke Taylor to discuss Finding Peace Difference between peace of the world and peace that Jesus gives (5:36) - How the digital age affects our finding of peace? (20:41) Break 1 What can the saints teach us about having peace? (26:45) 11:34 How do our feelings affect our peace? (30:48) how do you find peace in making a decision? (36:22) Break 2 How can the Sacraments and sacramental help us with peace? What is the rosary's role in giving us security and peace? (45:47) John - How do you find peace in discerning a career path? Resources: Searching for and Maintaining Peace: A Small Treatise on Peace of Heart https://scepterpublishers.org/products/searching-for-and-maintaining-peace Mother Teresa powerful speech on Love, works and peace https://www.youtube.com/watch?v=an7GZBTDx6k

Father John Paul Erickson joins Patrick to discuss Any Questions from our Listeners  (10:03) – Betsy - Both of my grandchildren got baptized and first communion but NOT confirmed. My daughter doesn't wat to confirm them. Are they considered Catholic? John - How do we deal with ultraconservative dissenters from the Pope? Email asking how long do you need to be detached from sin in order to get a plenary indulgence? (20:08) Andrew - My daughter is getting married to a fellow Catholic; she wants to get married outdoors. Why can't she? (23:15) Break 1 Zoraida - Confirmation: do you have to be confirmed before marriage? Teresa - The Mass: when people raise their hands when they say, 'and with your spirit?' Should we be doing that? (28:30) Dominic - Body Building: I do body building Is it Morally okay to use steroids recreationally? Ellen - Why do Catholic Churches have a saint at the front of the altar? (36:48) Kristen - I have two small kids and I am interested in coming back to the church, but I don't know what the first move is. (39:33) Break 2 Alex - comment to last caller contemplating getting married outside of the church. Our solution to that was having an intimate service in the church and a large outdoor celebration with everyone Question - What can I do to feel like I made a full confession Bob -If you receive the sacrament of confirmation while in mortal sin, does it count, or do you need to do it again? Ivette - What does it mean that Jesus descended into hell?

Patrick explores the nature of the Holy Spirit and how the Holy Spirit is the third person of the Trinity, co-eternal and co-equal with the Father and the Son. Patrick clarifies how Jesus, in his humanity, receives the Holy Spirit in various ways, such as during his baptism.   Patrick starts the show off finishing an answer he didn't have time to finish at the end of yesterday's show – How do you explain Revelations 12:1? (01:18) Roz - I thought that Mary didn't feel pain when she gave birth because she was free from original sin. (18:29) John - How is the Holy Spirit distinct without the Father and the son? (27:07) Lily - Our music director was fired and he was the best one we have ever had. He wants me to send him a copy of the email that said he was fired. I'm not sure what to do. I feel like I will start something if I do. (41:01)

This week on the blog, a podcast interview with the writer of a great new book, “London After Midnight: The Lost Film,” a book about the classic lost Lon Chaney film.LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Daniel's Facebook Page: https://www.facebook.com/p/London-After-Midnight-The-Lost-Film-100075993768254/Buy the Book “London After Midnight: The Lost Film”: https://www.amazon.com/London-After-Midnight-Lost-Film/dp/1399939890Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: So, Daniel, when did you first become aware of London After Midnight? Daniel: I was about seven years old when I first stumbled into Lon Chaney through my love of all things Universal horror, and just that whole plethora of characters and actors that you just knew by name, but hadn't necessarily seen away from the many still photographs of Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde. And the Phantom was the one to really spark my interest. But this was prior to eBay. I couldn't see the film of Lon Chaney's Phantom of the Opera for a year. So, I kind of had the ultimate build to books and documentaries, just teasing me, teasing me all the time. And when I eventually did watch a few documentaries, the one thing that they all had in common was the name Lon Chaney. I just thought I need to learn more about this character Lon Chaney, because he just found someone of superhuman proportions just who have done all of these crazy diverse characters. And, that's where London After Midnight eventually peeked out at me and, occupied a separate interest as all the Chaney characterizations do.John: So how did you get into the Universal films? Were you watching them on VHS? Were they on tv? Did the DVDs happen by then?Daniel: I was still in the VHS days. My dad is a real big fan of all this as well. So he first saw Bela Lugosi's Dracula, on TV when he was a kid. And prior to me being born he had amassed a huge VHS collection and a lot of those had Boris Karloff, Bela Lugosi, Henry Hull, Claude Rains, Vincent Price, what have you.And a lot of them were dedicated to Universal horrors. And as a young curious kid, my eyes eventually crossed these beautiful cases and I really wanted to watch them. I think my first one I ever watched was The Mummy's Tomb or Curse of the Mummy. And it's just grown ever since, really.John: You're starting at the lesser end of the Universal monsters. It's like someone's starting the Marx Brothers at The Big Store and going, "oh, these are great. I wonder if there's anything better?" Jim: Well, I kinda like the fact that you have come by this fascination, honestly, as my father would say. You sort of inherited the family business, if you will. The book is great. The book is just great. And I'll be honest, I had no, except for recording the novel that John wrote, I really had no frame of reference for London after Midnight.John: Well, Jim, were you a monster guy? Were you a Universal Monster kid?Jim: Oh yeah. I mean, I had all the models. I love all of that, and certainly knew about Lon Chaney as the Phantom of the Opera, as The Hunchback of Notre Dame. I knew he was the man with a thousand faces. I knew he, when he died, he wrote JR. on his makeup kit and gave it to his kid. So, I knew stuff. But London after Midnight I didn't know at all, except for the sort of iconic makeup and that image, which I was familiar with. What was the inspiration for you in terms of writing this book?Daniel: Like you say, I really had no immediate go-to reference for London after Midnight, away from one or two images in a book. Really clearly they were very impactful images of Chaney, skulking around the old haunted mansion with Edna Tichenor by his side with the lantern, the eyes, the teeth, the cloak, the top hat, the webs, everything. Pretty much everything that embodies a good atmospheric horror movie, but obviously we couldn't see it.So that is all its fangs had deepened itself into my bloodstream at that point, just like, why is it lost? Why can't I see it? And again, the term lost film was an alien concept to me at a young age. I've always been a very curious child. Anything that I don't know or understand that much, even things I do understand that well, I always have to try to find out more, 'cause I just can't accept that it's like a bookend process. It begins and then it ends. And that was the thing with London after Midnight. Everything I found in books or in little interviews, they were just all a bit too brief. And I just thought there has to be a deeper history here, as there are with many of the greatest movies of all time. But same with the movies that are more obscure. There is a full history there somewhere because, 'cause a film takes months to a year to complete.It was definitely a good challenge for me. When we first had our first home computer, it was one of those very few early subjects I was typing in like crazy to try to find out everything that I could. And, that all incubated in my little filing cabinet, which I was able to call upon years later.Some things which were redundant, some things which I had the only links to that I had printed off in advance quite, sensibly so, but then there were certain things that just had lots of question marks to me. Like, what year did the film perish? How did it perish? The people who saw the film originally?And unlike a lot of Chaney films, which have been covered in immense detail, London after Midnight, considering it's the most famous of all lost films, still for me, had major holes in it that I just, really wanted to know the answers to. A lot of those answers, eventually, I found, even people who knew and institutions that knew information to key events like famous MGM Fire, they were hard pressed to connect anything up, in regards to the film. It was like a jigsaw puzzle. I had all these amazing facts. However, none of them kind of made sense with each other.My favorite thing is researching and finding the outcomes to these things. So that's originally what spiraled me into the storm of crafting this, initial dissertation that I set myself, which eventually became so large. I had to do it as a book despite, I'd always wanted to do a book as a kid.When you see people that you idolize for some reason, you just want to write a book on them. Despite, there had been several books on Lon Chaney. But I just always knew from my childhood that I always wanted to contribute a printed volume either on Chaney or a particular film, and London after Midnight seemed to present the opportunity to me.I really just didn't want it to be a rehash of everything that we had seen before or read before in other accounts or in the Famous Monsters of Filmland Magazine, but just with a new cover. So, I thought I would only do a book if I could really contribute a fresh new perspective on the subject, which I hope hopefully did.John: Oh, you absolutely did. And this is an exhaustive book and a little exhausting. There's a ton of stuff in here. You mentioned Famous Monster of the Filmland, which is where I first saw that image. There's at least one cover of the magazine that used that image. And Forrest Ackerman had some good photos and would use them whenever he could and also would compare them to Mark the Vampire, the remake, partially because I think Carol Borland was still alive and he could interview her. And he talked about that remake quite a bit. But that iconic image that he put on the cover and whenever he could in the magazine-- Jim and I were talking before you came on, Daniel, about in my mind when you think of Lon Chaney, there's three images that come to mind: Phantom of the Opera, Quasimoto, and this one. And I think this one, the Man in the Beaver hat probably is the most iconic of his makeups, because, 'cause it is, it's somehow it got adopted into the culture as this is what you go to when it's a creepy guy walking around. And that's the one that everyone remembers. Do you have any idea, specifically what his process was for making that look, because it, it is I think ultimately a fairly simple design. It's just really clever.Daniel: Yes, it probably does fall into the category of his more simplistic makeups. But, again, Chaney did a lot of things simplistic-- today --were never seen back then in say, 1927. Particularly in the Phantom of the Opera's case in 1925, in which a lot of that makeup today would be done through CG, in terms of trying to eliminate the nose or to make your lips move to express dialogue. Chaney was very fortunate to have lived in the pantomime era, where he didn't have to rely on how his voice would sound, trying to talk through those dentures, in which case the makeup would probably have to have been more tamed to allow audio recorded dialogue to properly come through.But with regards to the beaver hat makeup, he had thin wires that fitted around his eyes to give it a more hypnotic stare. The teeth, which he had constructed by a personal dentist, eventually had a wire attached to the very top that held the corners of his mouth, opening to a nice curved, fixated, almost joker like grin.You can imagine with the monocles around his eyes, he was thankful there probably wasn't that much wind on a closed set, because he probably couldn't have closed his eyes that many times. But a lot of these things become spoken about and detailed over time with mythic status. That he had to have his eyes operated on to achieve the constant widening of his eyelids. Or the teeth -- he could only wear the teeth for certain periods of time before accidentally biting his tongue or his lips, et cetera. But Chaney certainly wasn't a sadist, with himself, with his makeups. He was very professional. Although he did go through undoubtedly a lot of discomfort, especially probably the most, explicit case would be for the Hunchback of Notre Dame, in which his whole body is crooked down into a stooped position.But, with London After Midnight, I do highly suspect that the inspiration for that makeup in general came from the Dracula novel. And because MGM had not acquired the rights to the Dracula novel, unlike how Universal acquired the rights of the Hunchback or, more importantly, Phantom of the Opera, by which point Gaston Leroux was still alive.It was just a loose adaptation of Dracula. But nevertheless, when you read the description of Dracula in Bram Stoker's novel, he does bear a similarity to Chaney's vampire, in which it's the long hair, a mouth full of sharp teeth, a ghastly pale palor and just dressed all in black and carries around a lantern.Whereas Bela Lugosi takes extraordinary leaps and turns away from the Stoker novel. But it must have definitely had an impact at the time, enough for MGM to over-market the image of Chaney's vampire, which only appears in the film for probably just under four minutes, compared to his detective disguise, which is the real main character of the film.Although the thing we all wanna see is Cheney moving about as the vampire and what facial expressions he pulled. It's just something that we just want to see because it's Lon Chaney.John: Right. And it makes you wonder if he had lived and had gotten to play Dracula, he kind of boxed himself into a corner, then if he'd already used the look from the book, you wonder what he would've come up with, if Lugosi hadn't done it, and if Chaney had had been our first Dracula.Jim: You know, the other thing that I think of strictly like through my actor filter is here's a guy who -- take Hunchback or Phantom or even this thing -- whatever process he went through to put that makeup on, you know, was hours of work, I'm sure. Hunchback several hours of work to get to that, that he did himself, and then they'd film all day.So, on top of, I mean, I just think that that's like, wow, when you think about today where somebody might go into a makeup chair and have two or three people working on them to get the look they want. Even if it took a few hours, that person is just sitting there getting the makeup done. He's doing all of this, and then turns in a full day, uh, in front of the cameras, which to me is like, wow, that's incredible.Daniel: Definitely, it's like two jobs in one. I imagine for an actor it must be really grueling in adapting to a makeup, especially if it's a heavy makeup where it covers the whole of your head or crushes down your nose, changes your lips, the fumes of chemicals going into your eyes.But then by the end of it, I imagine you are quite exhausted from just your head adapting to that. But then you have to go out and act as well. With Chaney, I suppose he could be more of a perfectionist than take as much time as he wanted within reason. And then once he came to the grueling end of it all, he's actually gotta go out and act countless takes. Probably repair a lot of the makeup as well after, after a couple of takes, certainly with things like the Hunchback or the Phantom of the Opera.John: And, you know, it's not only is he doing the makeup and acting, but in, you know, not so much in London After Midnight, but in Phantom of the Opera, he is quite athletic. When the phantom moves, he really moves. He's not stooped. He's got a lot of energy to him and he's got a makeup on that, unlike the Quasimoto makeup, what he's attempting to do with the phantom is, reductive. He's trying to take things away from his face.Daniel: Mm-hmm.John: And he's using all the tricks he knows and lighting to make that happen, but that means he's gotta hit particular marks for the light to hit it just right. And for you to see that his face is as, you know, skull-like as he made it. When you see him, you know, in London After Midnight as the professor inspector character, he has got a normal full man's face. It's a real face. Much like his son, he had a kind of a full face and what he was able to do with a phantom and take all that away, and be as physical as he was, is just phenomenal. I mean, he was a really, besides the makeup, he was a really good actor.Daniel: Oh, definitely. Jim: I agree with that completely. I kind of in what I watched, I wonder if he was the makeup artist, but not the actor and he did exactly the same makeup on somebody else. And so we had the same image. If those things would've resonated with us the way they do today. I think it had everything to do with who he was and his abilities in addition to the incredible makeup. He was just a tremendous performer.Daniel: Absolutely. He was a true multitasker. In his early days of theater, he was not only an actor, but he was a choreographer. He had a lot of jobs behind the scenes as well. Even when he had become a star in his own time, he would still help actors find the character within them. like Norma Sheera, et cetera. People who were kind of new to the movie making scene and the directors didn't really have that much patience with young actors or actresses. Whereas Chaney, because of his clout in the industry, no one really interfered with Chaney's authority on set. But he would really help actors find the character, find the emotion, 'cause it was just all about how well you translate it over for the audience, as opposed to the actor feeling a certain way that convinces themselves that they're the character. Chaney always tried to get the emotions across to the audience. Patsy Ruth Miller, who played Esemerelda in in the Hunchback, said that Chaney directed the film more than the director actually did.The director was actually even suggested by Chaney. So, Chaney really had his hands everywhere in the making of a film. And Patsy Ruth Miller said the thing that she learned from him was that it's the actress's job to make the audience feel how the character's meant to be feeling, and not necessarily the actor to feel what they should be feeling based on the script and the settings and everything.So I think, that's why Chaney in particular stands out, among all of the actors of his time.John: I think he would've transitioned really well into sound. I think, he had everything necessary to make that transition.Jim: There's one sound picture with him in it, isn't there, doesn't he? Doesn't he play a ventriloquist? John: I believe so.Daniel: Yes, it was a remake of The Unholy Three that he had made in 1925 as Echo the ventriloquist, and the gangster. And yes, by the time MGM had decided to pursue talkies -- also, funny enough, they were one of the last studios to transition to, just because they were the most, one, probably the most dominant studio in all of Hollywood, that they didn't feel the pressure to compete with the burgeoning talkie revolution.So they could afford to take their time, they could release a talkie, but then they could release several silent films and the revenue would still be amazing for the studio. Whereas other studios probably had to conform really quick just because they didn't have the star system, that MGM shamelessly flaunted. And several Chaney films had been transitioned to sound at this point with or without Chaney. But for Chaney himself, because he himself was the special effect, it was guaranteed to be a winner even if it had been an original story that isn't as remembered today strictly because people get to hear the thing that's been denied them for all this time, which is Chaney's voice. And he would've transitioned very easily to talkies is because he had a very rich, deep voice, which, coming from theater, he had to have had, in terms of doing dialogue. He wasn't someone like a lot of younger actors who had started out predominantly in feature films who could only pantomime lines. Chaney actually knew how to deliver dialogue, so it did feel natural and it didn't feel read off the page.And he does about five voices in The Unholy Three. So MGM was truly trying to market, his voice for everything that they could. As Mrs. O'Grady, his natural voice, he imitates a parrot and a girl. And yeah, he really would've flourished in the sound era. Jim: Yeah. John: Any surprises, as it sounds like you were researching this for virtually your whole life, but were there any surprises that you came across, as you really dug in about the film?Daniel: With regards to London after Midnight, the main surprise was undoubtedly the -- probably the star chapter of the whole thing -- which is the nitrate frames from an actual destroyed print of the film itself, which sounds crazy to even being able to say it. But, yeah the nitrate frames themselves presented a quandary of questions that just sent me into a whole nother research mode trying to find out where these impossible images came from, who they belonged to, why they even existed, why they specifically existed.Because, looking for something that, you know, you are told doesn't exist. And then to find it, you kind of think someone is watching over you, planting this stuff as though it's the ultimate tease. To find a foreign movie poster for London After Midnight would be one thing, but to find actual pieces of the lost film itself. It was certainly the most out of body experience I've ever had. Just to find something that I set out to find, but then you find it and you still can't believe that you've actually found it.John: How did you find it?Daniel: I had connections with a few foreign archives who would befriend me and took to my enthusiasm with the silent era, and specifically Chaney and all the stars connected to Chaney films.And, quite early on I was told that there were a few photo albums that had various snippets of silent films from Chaney. They didn't really go into what titles these were, 'cause they were just all a jumble. All I knew is that they came from (garbled) widow. And he had acquired prints of the whole films from various, I suppose, junk stores in Spain.But not being a projectionist, he just purely took them at the face value that he just taken the images and snipping them up and putting them in photo albums, like how you would just do with photographs. And then the rest of the material was sadly discarded by fire. So, all we were left with were these snipped relics, survivors almost to several Chaney lost films. Some of them not lost, but there were films like The Phantom of the Opera in there, the Hunchback of Notre Dame, Mockery, The Unknown. But then there were several lost films such as London After Midnight, the Big City, Thunder. And All the Brothers were Valiant, which are mainly other than Thunder are all totally complete lost films.So, to find this little treasure trove, it was just finding out what the images meant and connecting them up, trying to put them in some sort of chronological scholarly order. Grueling, but it was very fun at the same time. And because I had identified myself with all of these surviving production stills from the film -- a lot of them, which formed the basis of the 2002 reconstruction by Turner Classic Movies -- it didn't take me too long to identify what scenes these surviving nitrate frames were from. But there were several frames which had sets that I recognized and costumes that I recognized, but in the photographic stills, they don't occupy the same space at the same time. So, it's like the two separate elements had crossed over. So that left me with a scholarly, question of what I was looking at. I was able to go back and, sort of rectify certain wrongs that have been accepted throughout the sixties as being the original, say, opening to London after Midnight. So I've, been able to disprove a few things that have made the film, I suppose, a bit more puzzling to audiences. Some audiences didn't really get what the plot was to begin with. So, it was nice to actually put a bit more order to the madness finally.John: At what point did you come across the original treatment and the script?Daniel: The treatment and the script, they came from a private collector who had bought them at auction a number of years ago who I was able to thankfully contact, and they still had the two documents in question. I had learned through Philip J Riley's previous books on London after Midnight that he had the two latter drafts of the script, the second edition and the third draft edition.And, again, the question of why and where. I just always wondered where that first draft of the script was, hoping it would contain new scenes, and open new questions for me and to study. And once I've managed to find those two documents, they did present a lot of new, perspectives and material that added to the fuller plot of the original hypnotist scenario, as opposed to the shortened, time efficient London After Midnight film that was ultimately delivered to audiences. So again, it helped to put a little bit more order to the madness.Jim: You found an actual piece of the film that you were able to, somebody got images from it? And then you found the scripts? But the images are terrific and they're all in your book. They came from what exactly?Daniel: The just below 20 images of the film came from originally a distribution print, a Spanish distribution print, from about 1928. Originally, they were on 35 millimeter indicating that they were from the studio and as is with a lot of silent films that have been found in foreign archives.Normally when a film is done with its distribution, it would have to be returned to the original studio to be destroyed, except for the original negative and a studio print, because there is no reason why a studio would need to keep the thousands of prints when they have the pristine copy in their vault. But, in a lot of smaller theater cases, in order to save money on the postage of the shipping, they would just basically declare that they had destroyed the film on the studio's behalf. There was no record system with this stuff and that's how a lot of these films ended up in the basements of old theaters, which are eventually when they closed, the assets were sold off to collectors or traveling showmen. And eventually these films found their ways into archives or again, private collections. Some of which people know what they have.A lot of times they don't know what they have because they're more obsessed with, naturally, more dedicated to preserving the films of their own culture that was shown at the time, as opposed to a foreign American title, which they probably assume they already have a copy of. But it's how a lot of these films get found.And, with the London After Midnight, example, there were the images that I found spanned the entire seven reels, because they came from different points in the film. It wasn't a single strip of film, of a particular scene. Having thankfully the main source that we have for London After Midnight is the cutting continuity, which is the actual film edited down shot for shot, length for length.And it describes, briefly, although descriptive enough, what is actually in each and every single shot of the film. And comparing the single frame images from the film with this document, I was able to identify at what point these frames came from during the film, which again spanned the entire seven reels, indicating that a complete seven reel version of the film had gotten out under the studio system at one point.As is the case, I'm assuming, 'cause these came from the same collection, I'm assuming it was the same with the other lost Chaney films that again, sadly only survive in snippet form.John: It's like somebody was a collector and his wife said, "well, we don't have room for all this. Just take the frames you like and we'll get rid of the rest of it." So, you mentioned in passing the 2002 reconstruction that Turner Classic Movies did using the existing stills. I don't know if they were working from any of the scripts or not. That was the version I originally saw when I was working on writing, those portions of The Misers Dream that mentioned London After Midnight. Based on what you know now, how close is that reconstruction and where do you think they got it right and where'd they get it wrong?Daniel: The 2002, reconstruction, while a very commendable production, it does stray from the original edited film script. Again, the problem that they clearly faced on that production is that there were not enough photographed scenes to convey all the photographed scenes from the film. So what they eventually fell into the trap of doing was having to reuse the same photograph to sometimes convey two separate scenes, sometimes flipping the image to appear on the opposite side of the camera. And, because of the certain lack of stills in certain scenes cases, they had to rewrite them.And sometimes a visual scene had to have been replaced with an inter-title card, merely describing what had happened or describing a certain period in time, as opposed to showing a photograph of what we're meant to be seeing as opposed to just reading. So, they did the best with what they had.But since then, there have been several more images crop up in private collections or in the archives. So, unless a version of the film gets found, it's certainly an endeavor that could be revisited, I think, and either do a new visual reconstruction of sort, or attempt some sort remake of the film even.Jim: That's an idea. John: They certainly have the materials to do that. I've got an odd question. There's one famous image, a still image from the film, showing Chaney as Professor Burke, and he is reaching out to the man in the beaver hat whose back is to us. Is that a promo photo? Spoiler alert, Burke is playing the vampire in the movie. He admits that that's him. So, he never would've met the character. What is the story behind that photo?Daniel: There are actually three photographs depicting that, those characters that you described. There are the two photographs which show Chaney in the Balfor mansion seemingly directing a cloaked, top hatted figure with long hair, with its back towards us. And then there is another photograph of Chaney in the man in the beaver hat disguise with a seemingly twin right beside him outside of a door.Basically the scenes in the film in which Chaney appear to the Hamlin residents, the people who are being preyed upon by the alleged vampires, the scenes where Chaney and the vampire need to coexist in the same space or either appear to be in the same vicinity to affect other characters while at the same time interrogating others, Chaney's character of Burke employs a series of assistants to either dress up as vampires or at certain times dress up as his version of the vampire to parade around and pretend that they are the man in the beaver hat. Those particular shots, though, the vampire was always, photographed from behind rather than the front.The very famous scene, which was the scene that got first got me interested in London After Midnight, in which the maidm played by Polly Moran is in the chair shrieking at Chaney's winged self, hovering over her. It was unfortunate to me to realize that that was actually a flashback scene told from the maid's perspective.And by the end of the film, the maid is revealed to be an informant of Burke, a secret detective also. So, it's really a strong suspension of disbelief has to be employed because the whole scene of Chaney chasing the maid through the house and appearing under the door, that was clearly just the MGMs marketing at work just to show Chaney off in a bizarre makeup with a fantastic costume.Whereas he is predominantly the detective and the scenes where he's not needed to hypnotize a character in the full vampire makeup, he just employs an assistant who parades around in the house as him, all the times with his back turned so that the audience can't latch on as to who the character actually is, 'cause it must have posed quite a fun confusion that how can Chaney be a detective in this room where the maid has just ran from the Vampire, which is also Chaney?John: Yeah, and it doesn't help that the plot is fairly convoluted anyway, and then you add that layer. So, do you think we'll ever see a copy of it? Do you think it's in a basement somewhere?Daniel: I've always personally believed that the film does exist. Not personally out of just an unfounded fanboy wish, but just based on the evidence and examples of other films that have been found throughout time. Metropolis being probably the most prominent case. But, at one point there was nothing on London After Midnight and now there is just short of 20 frames for the film. So, if that can exist currently now in the year 2023, what makes us think that more footage can't be found by, say, 2030? I think with fans, there's such a high expectation that if it's not found in their own lifetime or in their own convenience space of time, it must not exist. There's still a lot of silent lost treasures that just have not been found at all that do exist though. So, with London After Midnight, from a purely realistic standpoint, I've always theorized myself that the film probably does exist in an archive somewhere, but it would probably be a very abridged, foreign condensed version, as opposed to a pristine 35-millimeter print that someone had ripped to safety stock because they knew in the future the film would become the most coveted of all lost films. So, I do believe it does exist. The whole theory of it existing in a private collection and someone's waiting to claim the newfound copyright on it, I think after December of last year, I think it's finally put that theory to rest. I don't think a collector consciously knows they have a copy of it. So, I think it's lost until found personally, but probably within an archive.Jim: Lost until found. That's a great title for a book. I like that a lot. What do you think of the remake, Mark of the Vampire and in your opinion, what does it tell us about, London After Midnight?Daniel: Well, Mark of the Vampire came about again, part of the Sound Revolution. It was one of those because it was Chaney and Todd Browning's most successful film for the studio. And Browning was currently, being held on a tight leash by MGM because of his shocking disaster film Freaks, I suppose they were a little bit nervous about giving him the reign to do what he wanted again. So, looking through their backlog of smash silent hits, London After Midnight seemed the most logical choice to remake, just simply because it was their most, successful collaboration. Had it have been The Unholy Three, I'm sure? Oh no, we already had The Unholy Three, but had it have been another Browning Chaney collaboration, it might have been The Unknown, otherwise. So, I suppose that's why London After Midnight was selected and eventually turned into Mark of the Vampire. The story does not stray too much from London After Midnight, although they seem to complicate it a little bit more by taking the Burke vampire character and turning it this time into three characters played by three different actors, all of which happened to be in cahoots with one another in trying to solve an old murder mystery.It's very atmospherical. You can definitely tell it's got Todd Browning signature on it. It's more pondering with this one why they just did not opt to make a legit, supernatural film, rather than go in the pseudo vampire arena that they pursued in 1927. Where audiences had by now become accustomed to the supernatural with Dracula and Frankenstein in 1931, which no longer relied on a detective trying to find out a certain mystery and has to disguise themselves as a monster.The monster was actually now a real thing in the movies. So I think if Bela Lugosi had been given the chance to have played a real Count Mora as a real vampire, I think it would've been slightly better received as opposed to a dated approach that was clearly now not the fashionable thing to do.I suppose again, because Browning was treading a very thin line with MGM, I suppose he couldn't really stray too far from the original source material. But I find it a very atmospherical film, although I think the story works better as a silent film than it does as a sound film, because there's a lot of silent scenes in that film, away from owls, hooting and armadillos scurrying about and winds. But I do think, based on things like The Cat and The Canary from 1927 and The Last Warning, I just think that detective sleuth with horror overtones serves better to the silent world than it does the sound world away from the legit, supernatural.John: So, if Chaney hadn't died, do you think he would have played Dracula? Do you think he would've been in Freaks? Would Freaks have been more normalized because it had a big name in it like that?Daniel: It would've been interesting if Chaney had played in Freaks. I think because Todd Browning used the kinds of individuals that he used for Freaks, maybe Chaney would've, for a change, had been the most outta place.John: Mm-hmm.Daniel: I do think he might have played Dracula. I think Universal would've had a hell of a time trying to get him over because he had just signed a new contract with MGM, whereas Todd Browning had transferred over to Universal by 1930 and really wanted to make Dracula for many years and probably discussed it with Chaney as far back as 1920.But certainly MGM would not have permitted Chaney to have gone over to Universal, even for a temporary period, without probably demanding a large piece of the action, in a financial sense, because Universal had acquired the rights to Dracula at this point. And, based on the stage play that had, come out on Broadway, it was probably assured that it was going to be a giant moneymaker, based on the success of the Dracula play.But because of Cheney's, status as a, I suppose retrospectively now, as a horror actor, he was probably the first person to be considered for that role by Carl Laemmle, senior and Junior for that matter. And Chaney gone by 1930, it did pose a puzzle as to who could take over these kinds of roles.Chaney was probably the only one to really successfully do it and make the monster an actual box office ingredient more than any other actor at that time, as he did with. Phantom, Blind Bargain and London After Midnight. So, I think to have pursued Chaney for a legit, supernatural film would've had enormous possibilities for Browning and Chaney himself.You can kind of see a trend, a trilogy forming, with Browning, from London After Midnight, in which he incorporates things he used in Dracula in London After Midnight. So, he kind of had this imagery quite early on. So, to go from – despite it's not in that order -- but to have London After Midnight, Mark of the Vampire, and he also did Dracula, he clearly was obsessed with the story. And I think Chaney was probably the, best actor for someone like Browning who complimented his way of thinking and approach to things like silence. As opposed to needing dialogue all the time, loud commotions. So, I think they dovetailed each other quite well, and that's why their ten year director actor relationship was as groundbreaking as it was.Jim: If the film does surface, if we find the film, what do you think people, how are they gonna react to the movie when they see it? What do you think? What's gonna be the reaction if it does surface?Daniel: Well, the lure of London After Midnight, the power in the film is its lost status rather than its widespread availability. I think it could never live up to the expectation that we've built up in our heads over the past 40 to 60 years. It was truly people, fans like Forrest J Ackerman that introduced and reignited the interest in Chaney's career by the late fifties and 1960s. That's when London After Midnight started to make the rounds in rumor, the rumors of a potential print existing, despite the film had not long been destroyed at that point. So, it was always a big mystery. There were always people who wanted to see the film, but with no access to home video, or et cetera, the only way you could probably see the film would've been at the studio who held everything. And, by the time the TV was coming out, a lot of silent films didn't make it to TV. So again, it has just germinated in people's heads probably in a better form than what they actually remembered. But, the true reality of London After Midnight is one more closer to the ground than it is in it's people are probably expecting to see something very supernatural on par with Dracula, whereas it's more so a Sherlock Holmes story with mild horrorish overtones to it that you can kind of see better examples of later on in Dracula in 1930 and in Mark of the Vampire.It's a film purely, I think for Lon Chaney fans. For myself, having read everything I can on the film, everything I've seen on the film, I personally love silent, detective stories, all with a touch of horror. So, I personally would know what I am going in to see. I'm not going in to see Chaney battling a Van Helsing like figure and turn to dust at the very end or turning to a bat. I'm going to see a detective melodrama that happens to have what looks like a vampire. So, it certainly couldn't live up to the expectations in people's minds and it's probably the only film to have had the greatest cheapest, marketing in history, I would think. It's one of those films, if it was discovered, you really would not have to do much marketing to promote it.It's one of those that in every fanzine, magazine, documentary referenced in pop. It has really marketed itself into becoming what I always call the mascot of the genre. There are other more important lost films that have been lost to us. The main one again, which has been found in its more complete form, was Metropolis, which is a better movie.But unlike Metropolis, London After Midnight has a lot more famous ingredients to it. It has a very famous director. It has a very famous actor whose process was legendary even during then. And it's actually the only film in which he actually has his make-up case make a cameo appearance by the very end. And it goes on the thing that everyone in every culture loves, which is the vampirism, the dark tales and folklore. So, when you say it, it just gets your imagination going. Whereas I think if you are watching it, it's probably you'll be looking over the projector to see if something even better is going to happen.The film had its mixed reactions when it originally came out. People liked it because it gave them that cheap thrill of being a very atmospherical, haunted house with the creepy figures of Chaney walking across those dusty hallways. But then the more important story is a murder mystery.It's not Dracula, but it has its own things going for it. I always kind of harken it back to the search for the Lochness Monster or Bigfoot. It has more power in your mind than it does in an aquarium or in a zoo. Hearing someone say that they think they saw something moving around in Lochness, but there's no photographic evidence, you just have the oral story, that is much more tangible in a way than actually seeing it in an aquarium where you can take it for granted. And it's the same with London After Midnight, and I think that's why a lot of hoaxster and pranksters tend to say that they have seen London After Midnight more than any other lost film.Jim: For a film that I would say the majority of the world does not have any frame of reference, and I'm using myself as the sort of blueprint for that, no frame of reference for this film. That image is iconic in a way that has been, I mean, it at first glance could be Jack the Ripper. I was talking to John before we started the podcast, once I locked in on that image, then I started to think, oh, the ghosts in Disney's Haunted Mansion, there's a couple of ghosts that have elements of that. I mean, it was so perfectly done, even though we don't, I bet you nine out ten people don't know the title London After Midnight, but I bet you seven outta ten people know this image.Daniel: Definitely, it has certainly made its mark on pop culture, again, I think because I think it's such a beautiful, simplistic design. Everything from the simplistically [garbled] to the bulging eyes and the very nice top hat as well, which is in itself today considered a very odd accessory for a grotesque, vampire character.But it's one of those things that has really carried over. It's influenced what the movies and artists. It was one of the influences for the Babadook creation for that particular monster. It was an influence on the Black Phone. It's just a perfect frame of reference for movie makers and sculptors and artists to keep taking from.John: Yep. It's, it'll live long beyond us. Daniel, one last question. I read somewhere or heard somewhere. You're next gonna tackle James Whale, is that correct? Daniel: James Whale is a subject, again, coming from, I happen to come from the exact same town that he was born and raised in, in Dudley, England. So, it's always been a subject close to home for me, which is quite convenient because I love his movies. So, I'm hoping to eventually, hopefully plan a documentary feature on him, based on a lot of family material in the surrounding areas that I was able to hunt down, and forgotten histories about him and just put it together in some form, hopefully in the future.John: That would be fantastic, and we'll have you back at that point.Jim: So, let's pretend for a minute that the audience is me, and they'd have absolutely no idea who James Whale is or what he's done. Just for a minute, let's pretend.John: Pretend that you don't know that?Jim: Yeah.Daniel: James Whale is the most known for his work for directing Frankenstein with Boris Karloff in 1931. But he also directed probably some of the most important horror films that have ever existed in the history of motion pictures. The Old Dark House, which can be cited with its very atmospherical, and black comedy tones, The Invisible Man with Claude Rains and Gloria Stewart in 1933. And, the most important one, which is probably the grand jewel in the whole of the Universal Monsters Empire, which is Bride of Frankenstein in 1935, which is the ultimate, example of everything that he had studied, everything that he'd learned with regards to cinema and comedy, life and death, and just making a very delicious cocktail of a movie in all of its black comedy, horrific, forms that we're still asking questions about today. One of his first films that he did was for Howard Hughes Hell's Angels, in which -- because he'd coming over from theater -- when again, films in America were taken off with the sound revolution. They all of a sudden needed British directors to translate English dialogue better than the actors could convey.So, James Whale was one of many to be taken over to America when he had a hit play called Journeys End, which became the most successful war play at that point. And he did his own film adaptation of Journeys End. He also did a really remarkable film called Showboat, which is another very iconic film.And again, someone with James Whale's horror credentials, you just think, how could someone who directed Frankenstein directed Showboat? But, clearly a very, very talented director who clearly could not be pigeonholed at the time as a strictly horror director, despite it is the horror films in which he is remembered for, understandably so, just because they contain his very individualistic wit and humor and his outlooks on life and politics. And being an openly gay director at the time, he really was a force unto himself. He was a very modern man even then.

“Get a Bigger God” – Dr. John How well do you know the God of your being? Could it be that Divine Presence is greater and more powerful than you've ever imagined? Let's explore the possibilities together. Theme of the Month: Finding God in Every Day Life Book of the Month: “Basic Ideas of Science of Mind” – Dr. Ernes Holmes Today's Affirmation: “The God of my being is the same force that creates all that is and all that shall ever be.” Released May 12, 2024 Your generosity helps to support our Podcasts. Please visit our website: http://www.cslftl.org

Hey pervy people! Today on Turned On With Sue & John - How to make dirty talk less weird. Plus: - Listener Question: I'm looking for a man with a small penis. - Dinosaur butthole - Swinging in 30 countries - I Have To Have Sex With The Lights Off - This week's Kinky Confessions - What is the perfect rhythm for a BJ? - Sex In The News - Schedule sex like going to the gym. Referenced in this episode (dirty talk) Young Goddess Kim: https://www.younggoddesskim.com Sexy toys!!! Our sponsors at EdenFantasys.com https://www.edenfantasys.com/turnedon --- Send in a voice message: https://podcasters.spotify.com/pod/show/sueandjohn/message

Pobret meu, all

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(1:22) Ruben - How do I control my emotions? Jack - I'm a 4th degree member of the KOC and it's custom to present a chalice to the priest when one of the members pass. The priest doesn't want the name engraved. What are your thoughts? (19:59) Break 1 Patrick shares his thoughts on a book which a listener asked about in an email. Here is a hint. It wasn't a good review. Alex - I was married twice and divorced and they were recently annulled. I am planning on remarrying my first wife. but I Married my second wife in the Philippines and there is not divorce there. Does that mean we are still married there? Cody - How do I respond to the claim that there wouldn't be abuse if priests were allowed to marry? (35:18) Break 2 (35:49) Patrick asks Young Thomas About his new album he just released called “Raindrops on Windows”. His artist's name is T-Max Bosco: Raindrops On Windows (youtube.com) George - Your instincts about the book you discussed were right and I want to emphasize your point. I know the person who wrote it and I had many of the same questions. John – How do I find a good Catholic Church? Are there any specific things I should look for?

Father Matthew Spencer takes the helm as Patrick Madrid enjoys some well-deserved time off with his family. As Father Matthew discusses the recent developments in Silicon Valley and the human messiness behind them, he prompts us to reflect on the importance of relationships and the values we hold as Christians. He also addresses a listener's question about receiving communion with mortal sin, offering guidance on navigating this sensitive issue with a priest. Join us as we explore these thought-provoking topics and prepare for the approaching Thanksgiving holiday. Ryan - How do I talk with my parish priest who says I can receive communion with mortal sin as long as I have the intention to go to confession after Mass? Duke (email) - I am struggling with the idea of God in the Trinity concept. Is Jesus the son of God or God?. When we pray to Jesus, is it to God or to Jesus? If Jesus is God, who is he praying to? (23:36) Mar (email) - if a woman has an abortion, and receives absolution at confession, will she go to hell at the final judgement automatically because of this sin? John - How would someone deal with the sin of anger? He doesn't want to evangelize because he is worried his anger will get out of hand. Email - Any advice on how a scrupulous person can return to the sacraments. (41:42) Ed - The Priest made us take the Eucharist out of the bowl. Is that okay?

Great Stories about Great Saints Mike - I can't make it to Mass today because of work. Do I need to go to confession because of that? (01:10)  St. Dominic Savio (03:24) John - How can I explain the Catholic teaching that we are called to help our spouses get to heaven? (21:05) Dusty - How would a loving God call for Genocide in the Old Testament? St. Teresa of Ávila (27:45) Carola - I married a man who is constantly cheating on me. Should I keep continuing with the marriage?

This week on the blog, a podcast interview with screenwriter and author Neal Marshall Stevens about his new book on horror, “A Sense of Dread (Getting Under The Skin of Horror Screenwriting).”LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Neal's book at Michael Wiese Productions: https://mwp.com/product-author/neal-marshall-stevens/Neal on IMDB: https://www.imdb.com/name/nm0139605/Brian Forrest's Blog: https://toothpickings.medium.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastNeal Stevens Transcript JOHN: Neal, you have a really long and storied history in the horror cinema. Can you remember the very first horror movie that had an impact on you? NEAL: Well, actually, looking back, the first movie that scared the hell out of me wasn't a horror movie. It was actually a Disney movie called Johnny Tremaine. It was a kid's movie. And there was a scene in that movie, Johnny Tremaine was a kid during the Revolutionary War who knew Paul Revere, who, as you may remember, was a silversmith. And there's a scene in that movie, the British are coming and Paul Revere has got this urn of molten silver.It gets knocked onto a table. Johnny Tremaine trips and puts his hand face up into the molten silver and fries his hand. And I'm sure I know I, every kid in the audience goes like (sound effect.) But that's actually not the scariest part of the movie. Later on, surgeons are unwrapping his burnt hand, and they look down and they react in horror.His fingers have healed together, stuck together. We don't see it and they say, “Oh, we're going to have to cut his fingers apart,” which also happens off screen. And again, in our imagination, imagining no anesthesia back then, it's a revolutionary war. So, poor Johnny Tremaine has to have his healed together fingers cut apart. The memory of what that must be like has lasted. I must have been like five or six when I saw it. My parents dragged me to see Johnny Tremaine, it's a happy Disney movie. I'm 67 years old, so it's been over a half a century since I saw this movie and was appropriately traumatized by those images. So, Disney knew how to scare little kids. That's for sure. JOHN: He sure did. Wow. That's a horrible story. NEAL: Yeah. As for official horror movies that scared the hell out of me, again, we used to watch Phantasmic Features on the TV in Boston. I remember a movie called Teenagers from Outer Space. They weren't actually teenagers. They were all in their thirties. But anyway, these invaders had a skeleton ray that as they would aim it at someone, it would flash and you're instantly reduced literally to a skeleton. And they were, they didn't care who, so as soon as they come out of their spaceship, there's a barking dog—bzzzt!—and the dog falls down, reduced to bones. They didn't care. They would use it as a woman's climbing out of a swimming pool—bzzzt!—skeleton floating in the pool. The casualness with which completely innocent people are reduced to skeletons. Again, absolutely horrifying. Couldn't have been much older than nine or ten when I watched this movie. But the fact that human flesh has reduced the skeletons, but also the casual innocence of which people are reduced to flesh is stripped off their bones. It's terrifying to me. BRIAN: I wonder how you parlayed that early sense of, “Oh, I like horror movies” into, “I want to create horror as a genre. “ NEAL: Well, I was one of a whole generation of kids who got super eight cameras and made, you know, we made stop motion movies and made monster movies in their basements. Pursuant to that, I was writing scripts when I was 13 years old. I guess people now do it with phones. We didn't have cell phones back when I was a kid, but we had super eight cameras and then, you know, a little cartridge things that we'd slug in. And so, I made tons of those little stop motion movies down in my basement. BRIAN: Do you still have some of them? NEAL: I guess I may have them somewhere. I think I have an old creaky super eight projector somewhere. I don't think you can get a bulb for it anymore. BRIAN: I've got one up there. I wonder if it would work? NEAL: Yeah. That's the big question. I wonder if it would work? Heaven only knows. JOHN: But that's a great way to learn visual storytelling. NEAL: Yeah. When I ultimately went to NYU grad film and, and all the films that we shot the first year were all silent. First silent film then silent with sound effects, but you weren't allowed to use sync sound until you got to second year, if you made it that far. JOHN: Did you make it that far? NEAL: Yes, I did. I actually graduated. Back at NYU, it was a very rough program at the time. They cut the student enrollment in half going from first to second year. So it was, it was a rough program back then. JOHN: That's brutal. NEAL: Yeah. JOHN: So, you leave film school with something under your arm that you've shot. Where does that lead you? NEAL: It certainly didn't get me much in the way of employment at the time. I ended up going right back to NYU. I ran their equipment room of all things for something like six years. But during all those six years I was writing. They had like a computer that they used to turn out the schedules. And then when I weren't writing schedules, I was using that computer to write my screenplays using WordStar. If anyone remembers that old program. God, it was horrible, but it was free, because they had the equipment room. And eventually I sent some stuff to Laurel Entertainment, which is the company that did Tales From the Dark Side. And they had an open submission program. If you signed a release form, you could send them stuff. And I'd gone in and I'd met Tom Allen, who was their senior story editor. I had a screenplay and I went in and talked about it. He liked it. It wasn't for them, but then he invited me to submit ideas for their new series, their follow-up series to Tales from the Dark Side, which is a thing called Monsters. And I went in, and I pitched some ideas, and they bought one. And it turned out to be their premier episode of Monsters. And shortly after that, tragically, Tom Allen passed away. And the VP, Mitch Galen, invited me in and said, “Would you like to take over and be our senior story editor on Monstersand our other projects?” And meanwhile, you know, for the second part of that whole series, I was still working in the equipment room at NYU and also working as a senior story editor on Monsters and being their creative consultant and reading hundreds of scripts for Laurel Entertainment. And then eventually I quit the equipment room, and I went and I worked for them full time and wrote a bunch of episodes for Monsters. And I was a story editor on The Stand and The Langoliers— which wasn't so good—but on a bunch of other projects, it was just an enormous learning experience. And The Stand I think turned out really well. Other stuff, The Langoliers, did not work out really well. And a bunch of other projects that were not horror. BRIAN: Why do you think some things, especially, let's talk about Stephen King, why do you think some of those things adapted well and some didn't? NEAL: Well, The Langoliers was not, it wasn't that great. Wasn't that strong a project. And I think the idea, trying to make that and stretch that out into a mini-series. wasn't that strong. It wasn't that strong, the material wasn't really there. I think there are times when staying faithful to the material is the right approach. It certainly was the right approach with The Stand. Working with The Langoliers, you know, there were certainly elements of The Langoliers that were strong. And other stuff that was really just so-so. And I think if you'd had the willingness to step aside and do something different with it, it would probably have ended up—especially because they were expanding it into a mini-series—being just devoted to the original material, I think, ended up with a product that was really thin. Plus, we had hired a special effects company that the Langoliers themselves were just horrible. It was really substandard, honestly. So, it did not work out very well. BRIAN: I'm guessing with all these different projects you had to work on, you probably had to start dealing with types of horror and genres of horror that weren't in your comfort zone. Maybe not even what you wanted to do. What kind of learning curve was that for you? NEAL: You end up having to deal with a lot of different kinds of horror, especially with, you know, working in Monsters, where you just were turning stuff out tremendously fast. But also, I grew up with a certain kind of horror.I was never a huge fan of slasher stuff. I missed that whole era of horror. Certain kinds of movies appealed to me. That particular kind of transgressive material never really clicked. JOHN: Why do you think that is with you? NEAL: Because this simple act of repetitive bloodletting, for me, it always felt thin. I mean, it's not that I objected to explicit violence or explicit gore. I mean, I think that Dawn of the Deadunquestionably is one of the most brilliant horror movies ever made. And there certainly, George Romero didn't pull back from explicit violence. Or a movie like Hellraiser, the same deal. It's a question of how the filmmaker employs the use of graphic violence to elevate the material. What I've told people when you watch a movie like Dawn of the Dead, the first 10 or 15 minutes of that movie—which by the way, I saw when it virtually when it first came out and saw it in the theater—you had never seen anything like that opening scene in terms of graphic violence from being bitten and heads being blown off and all the rest. You were just put through the ringer, watching that opening. And after that opening, the movie was never that violent again. He never showed anything like that again.And you didn't have to, because you—having seen that opening scene, you were—you were so blown out of your seats. You said, “I'm watching a movie where anything could happen to anyone.” And that was a kind of really intelligent and that kind of thoughtful use of violence is what George Romero was always able to do. It was understanding how graphic images can affect the psychology of the viewer. JOHN: Do you think it's also that with Romero's films, they're actually about something, whereas a slasher film is really just about a body count, but with Romero, he always had another thing going. NEAL: Well, of course, I mean, no movie that isn't about anything is ever going to really, from my perspective, be worth watching. But I mean, even a movie like Hostel, which is exceptionally violent and harrowing, is certainly about something. And I think Eli Roth's movies, which get a really bad rap, are very much about something. He's got something to say with his depictions of violence and his images. Not necessarily to my taste. I certainly wouldn't say that he's not, he's making movies that are certainly about something. He's not a dumb filmmaker by any stretch of the imagination. JOHN: So, you work on Monsters, and then what happens? NEAL: I worked on Monsters. I worked there for around six years, and then they were acquired by a big studio, and they were shut down. And so, I was out of work. I'd known a woman named Debbie Dion from Full Moon. I figured, well, I'll give that a shot. I'll call her up and see, maybe I could write for a Full Moon. And so, I gave her a shot. I, you know, reintroduced myself and said, you know, “I'm looking to see if I could get some job, maybe writing features for Full Moon Entertainment, Charlie Band's company.” And they said, “Well, we pay around $3,000 for a feature.” And I said, “Well, I got paid more than that for writing an episode of Monsters. That doesn't seem like such a good deal.” And then my unemployment insurance ran out. BRIAN: Suddenly it's a very good deal. NEAL: Sounds like suddenly a very good deal. But, you know, I made it very clear that money buys one draft, and if you want to rewrite, you got to pay me again, because I knew what development was like, where they just expect draft after draft after draft, and I'd say, “I can't do that, that doesn't make any sense.” And also, having worked for Monsters, I had learned to write really fast. I could write a pass on a Monsters episode in two days, so I knew that I could write fast, because these were 80-page scripts. And so, I started writing for Full Moon, and over the course of like the next few years, I wrote something like... 50 or 60 features for Charlie Band. And a lot of them got made, because they're not wasting money on movies that don't get made. Tons of them got made. And in the midst of doing that, I was, you know, whenever I got a break writing a full movie, I would write spec scripts, you know, in the hopes I could sell something of my own that wasn't for $3,000. I didn't have an agent at that point. I didn't have a manager at that point. And so, I'm not really good making cold calls to people. It's not my thing. I just like to sit, write my scripts. I'd come home one day, and I saw my wife was on the phone having this long conversation with someone. When she was done, I said, “Well, who was that?” “Oh yeah. I called up to order something.” I said, “So she's really good at getting on the phone and talking to people and calling them.” And so, I convinced her to be my manager. So, she agreed. She changed, you know, she went out under her maiden name. She managed to get an option on a science fiction script that I'd written that, I mean, it was ultimately bought. It was never made. And then I decided, you know what? Horror is really my bread and butter writing for Charlie Band. But I don't really have a horror spec. And most of what was out those days in horror didn't really scare me that much. I should really write a script that would scare me. So, I wrote a script called Deader, which I thought had all the stuff in it that I thought was really scary. And Judy went out with that script, sent it to a bunch of people, sent it to some folks at Stan Winston's company, as they had a development deal. The producer that she talked to really liked it, asked if he could sort of slip it to some people. He did, he sent it to someone, a producer at Dimension, it's based in New York, and he really liked it. And they showed it to Bob Weinstein. Bob Weinstein called us on Sunday. Am I half awake? Talk to Judy. Because they didn't know that Judy was my wife. He said, “This is the best goddamn script I've read. I'm like three quarters away. Come in on Monday and we'll talk about it.” So, we came in on Monday and they bought the script. And of course, at that point, it sort of went all over town. And for a very short period of time, it was like the flavor of the month and everyone loved me. And I got myself an agent and got myself like three pictures. And as I was a really big, big to-do. From that, I also got 13 Ghosts. I had like a really big opinion of myself after, after that sale. JOHN: Has that been tempered since then? NEAL: I kind of got the opinion that like, wow, selling scripts is easy. People wanted to hire me because that script was super hot and was all over town. I learned subsequently there are flavors in writers, and I was like that flavor of the month. That fades and then you have to really do a lot more work to get things sold. That was a hard lesson to learn. But I've managed to keep working over the years. I've written many scripts, sold some, and it's been a decent career. BRIAN: I was just wondering, you were having all the success writing screenplays, when did you decide to make a jump to writing a book? NEAL: Over the last five or six years, I've been teaching. A woman that I knew from NYU, actually, Dorothy Rumpolsky had been instrumental in starting a screenwriting program at David Lynch Institute for Cinematic Studies. And she realized at one point that she had a number of students who wanted to work in a horror. She remembered me back from NYU many years ago. So, she got in touch with me and wanted to know if I was interested in mentoring those students. And I said, absolutely. I done some other online teaching at other places. And so, the way it works is, you fly out for an opening few days where you meet the students. And then you fly back to where you come from. They go back to where they come from. And it's all done remotely, the mentoring. And so, I've been doing that now for five or six years. And during that kind of get together, you meet a bunch of guest lecturers and other teachers, other mentors. And a number of those people had written books for Michael Wiese productions. And, in the course of chatting, they suggested, well, you, you know, “You have a kind of encyclopedic knowledge of horror and horror cinema. That might be a good book for Michael Wiese. Give them a call and see if you can come up with a pitch and an interesting take on it.” And so I did, and I called them and they responded. And so we were off to the races. JOHN: The book is really, maybe delightful is the wrong word, but it's a captivating book because as you read through it—you have outlined breaking down our different types of fears—you can immediately in your mind go, “Oh, that's what that movie was doing. Oh, that was that. That's what was happening there.” What was your research process like? NEAL: I think that the research kind of developed over the decades as I studied what made movies scary and what was working, not only in the movies that I was watching, but in the movies that I was writing. I mean, in the same way that when you work as a screenwriter, it becomes almost second nature to try to figure out what was working and what wasn't. Talking to fellow filmmakers and screenwriters, you have to say, “How many times do you watch a movie?” And a lot of times I will watch a movie 8, 10, 20 times. And there's a process that works when you watch a movie that many times, where you say “Certain things will work every time you watch a movie.”In the same way that you can watch a comedy and you can laugh every single time as certain things comes up. And other times, you start seeing the nuts and bolts and say, “Well, this is always working and here they're just connecting stuff.” And you start saying, “Ah, I get it. I see what they're doing. I see how they're taking this piece that works and this other piece that works and they couldn't quite, they kind of, they found some connective tissue to stick it together. I see exactly what they're doing.” And you start understanding—whether you're watching a comedy or you're watching a drama or you're watching a scary movie—they knew exactly how to make this thing scary. And this is how they're doing it. And they understood exactly how to make this thing scary. And it's like, ah, this is what they're using. Whether it is a spider crawling on someone, that's always going to work. Or, “Oh, I see, this is just a jump scare.” And the jump scare is, I understand, that's just, because a big bang, a loud noise, a hand reaching in from, that's just, that's always going to work. It's going to work no matter what. It's just a kind of placeholder scare, because they couldn't think of anything better. And there are movies where it's just jump scares. And you can always use a jump scare. You can sneak up on a cat and jab it and it'll jump. It's an instinctive response. And if a movie is just relying on jump scares, you know it's because they don't have anything better. They haven't got any deeper than just having the phone ring and they turn up the soundtrack. You can always get an audience to jump by putting a loud sound on the soundtrack. JOHN: Is there an example you can think of though, where there is a jump scare that you think is a genuinely good, effective jump scare? NEAL: I can think of a movie that has two really excellent jump scares. John Carpenter's The Thing. When the doctor's giving the electric shock to the guy's chest, and the chest opens and slams shut on his hand. Didn't expect it.That's a super great jump scare. It is perfectly integrated into that scene. Everyone jumps, but it's also a brilliant continuation of that scene. Second jump scare, when MacReady is testing everyone's blood. And saying, “We're going to do you next,” puts the needle in, and that thing jumps out of the Petri dish.Fantastic jump scare. We didn't see it coming. Everyone jumps. And it's again, it's perfectly integrated into that scene. So, two brilliant jump scares in what's already an incredibly brilliant movie. BRIAN: I remember watching the commentary on Jaws and Spielberg said he got greedy with his jump scares. He had the moment towards the end of the film, you remember that Jaws comes out of the water while it's being chummed. And he said he got this great reaction from the audience, and he wanted one more. And he went back, and he added in the scene earlier where the corpse face comes through the hole. And he said he never got the audience to react as well to the shark after he added in that corpse face coming through the hole of the ship. And I wondered, do you think there's a point of diminishing returns with jump scares in one movie? NEAL: I think there absolutely is. I mean—and I have no end of admiration for Jaws. I think it may be one of the most brilliant movies ever, and it certainly has stood the test of time. JOHN: So, we've each come armed with some movies here that I thought it would be fun to talk about them with you, so that you could sort of delve into the different types of fear that are outlined in the book and we'll just sort ofcheckerboard back and forth here. I'm going to start with one of my favorite sense of dread movies, and that's Don't Look Now, with Donald Sutherland and Julie Christie, directed by Nick Roeg which I saw way too young. First R rated movie I saw. I remember I knew that it was supposed to be really scary, and I went with my older brother, and we were standing in line and the seven o'clock show was letting out. And I said to my brother, “Well, it can't be that scary. They're not saying anything.” Not realizing that they had all been stunned into silence about the last five minutes of that movie. So, what are your thoughts on Don't Look Now and where does that fit? NEAL: When I talk about the sense of dread, which is what my book is about, it's the notion of those aspects of our lives that we think of as safe and secure and dependable and sacred being suddenly or unexpectedly penetrated by the unknown or the unnatural, the unexpected. And you have to say, well, what are the things that we depend on? We depend on our homes. We depend on our families. And so that relationship of parent and child, what violates that? And the loss of a child, loss is already wrenching. And so, this sense of parents having lost a child, but then this notion that, well, maybe not, maybe the child is still out there somewhere, is so deeply disturbing. And so this weird, this quest, this pursuit in them. And meanwhile, in the background, you have the sense of a killer, of killings going on. This really disturbing notion of the woman's half decayed body being pulled out of the water is just as an image is—and again, the notion of human body being reduced to mere flesh—it's deeply disturbing. And nakedness, coupled with decay, it's deeply disturbing. And all of this sort of happening in the background. We don't quite know how these pieces connect. The notion that the search for the child and the notion that there's a killer on the loose. We know, because the nature of cinematic storytelling is telling us that somehow these things are going to connect, because, I mean, in the real world, there are countless thousands of things drifting around that don't necessarily hook up. But we know that one thing is going to collide with another. And so, there's this growing sense of profound unease, because we know, somehow, this child in this Red Riding Hood cape is wandering around, it's like, is this the child? Is the child going to become embroiled in this? But what we don't, certainly don't expect is the ending that confronts us in the finale, which is so incredibly, the reversal is so terrifying and so hits us in the face of that sense of innocence—revealed in such a terrifying way—is the essence of dread. Where we expect to find innocence, we find a nightmare. JOHN: What's great about what Nick Roeg did there was—if you read Daphne du Maurier's short story—he basically shot the last paragraph of that short story. Cinematically, he figured out the way that she's laying out what's going on with Donald Sutherland's character at that moment. He figured out a way to make it cinematic. So, like you say, all the pieces suddenly fall into place in those last few seconds. And, like you said, we've been brought to this place, we had no idea that that's where it was going to turn. Neal, tell me about Enemy from Space, and what you like about that. NEAL: Enemy from Space is the second of the three Quatermass movie, adaptations of the serial. It's in the same vein as Invasion of the Body Snatchers, and all these other movies about human beings who are being invaded and infested by alien forces. In this case, over the past few years—but in the context of the story—there have been rains of these tiny little meteorites. Anyone who finds them, they crack open and what's inside infests human beings. And you can find these tiny little burn marks, these V shaped marks on them. And the parasites take them over and make them into these kind of human slaves. And the premise is they serve this larger being, this kind of group entity, and they proceed to start building these atmosphere plants, with the goal ultimately to turn the earth into a colony for these beings that come from outer space. But the notion of these human beings, they have infiltrated our government, infiltrated our community, and they gradually take people over, scary enough. And they have built this enormous plant that looks, he says, this looks just like this proposed lunar base with these giant atmospheric domes. A group of people managed to infiltrate one of these bases and he looks inside, manages to get close enough to look inside one of these domes and inside are the parasites. When they're released, they grow together into this thing that looks like a giant blob. That's what it looks like outside of the human hosts. And a bunch of these guys are trapped inside of the atmosphere of plant. And they realize this thing, they can't survive outside the human body. They need methane to breathe, because that's what their home planet is like. “What we need to do is we need to pump oxygen into this dome to kill this thing. That'll destroy it.” And voices come over to say, “Look, this guy's crazy. There's nothing inside this dome. You send some representatives over, we'll show you anything you want.” And Quatermass says, “You're crazy if you go over there, you're going to be infected. You're going to be taken over.” But they managed to divide, they send the guys over and Quatermass is pleading with them, “Listen, they're going to get on this speaker. They're going to tell you that everything is fine, but you can't listen. Don't listen to them, whatever you say.” And then they hear this sound. This hideous sound of screaming coming down the pipes, the pipes that they've been sending oxygen down to the dome. They say, “What the hell is that? What's going on?” And then they look, they see the pressure has gone way up. There's something wrong. And the pipe is burst, the pipe that's sending oxygen to this dome. And they say, “What is it? What's happened?” And they look and something is dripping down through the pipe. And they say, “What is it?” It's blood. They took the guys that they sent, and they pushed them into the pipe. They say those pipes have been blocked with human pulp in order to keep the oxygen from coming into the dome. That is one of the most, again, all you see is just these drops of blood coming out of the cracked pipe, but that has resonated as one of the most terrifying moments from any movie that I saw, again, as a little kid. I've seen the movie recently and it's still incredibly terrifying. And again, the architecture of this web of pipes, the cold black and white architecture, is horrifyingly chilling. And the notion of human beings being reduced to mere flesh, being used as material for blocking a pipe. And the pipe's only like, it's like this big. So, you can imagine this person shoved into a pipe is hideous. JOHN: It is available on YouTube if anybody wants to watch it after that. Brian, do you want to ask about folk horror? BRIAN: Actually, I was going to jump ahead just because of what Neal was just talking about. I thought this would dovetail nicely into a question I had about a fear of contagion. And you can wrap body horror into this. Movies like The Thing or 28 Days Later, or probably The Quatermas Experiment as well. How does that fear of our own bodies being infected or watching another body change or be infected in unnatural ways? How does that—I don't want to use the word appeal—but how does that appeal to our sense of dread? NEAL: Well, I think you also have to run back to one of the most common— whether it's psychological or physiological—which is obsessive compulsive disorder. You say, well, what exactly is obsessive compulsive disorder? We have built in grooming behaviors, whether it's cleaning our hands, we clean our skin. That's wired into us. And when you turn the dial up too far, that turns into obsessive compulsive, obsessive hand cleaning or scratching, itching, hair pulling, all that stuff. It's wired in behavior, in the same way that dogs will scratch, we will scratch. And so, all of that, we react to it in the same way that if you see a spot of dirt on someone's forehead, it's almost impossible to “Clean that thing off. Get rid of that thing.” I mean, we're built in a certain way to respond to distortions, infections, invasions, in the same way that if someone's eye is cocked to one side, we react to it. Someone's face is distorted. We react to it negatively. We have to work not to respond to it. It may be a bug, but it may be a feature, because we are built to respond to a diseased or distorted members of our community. It's a survival trait. And so, in some ways, horror movies respond to that. Distorted human beings, Hunchback of Notre Dame or Igor or anyone else who are distorted, deformed, limbless creatures—Freaks—are employed in horror movies in a variety of different ways. BRIAN: And it's a very different thing from seeing an arm chopped off versus seeing an arm with three hands that are all operating. Both of them is something happening to your body that you might revolt towards, but it's a very different reaction though, right? NEAL: It is, but it's—in a sense—it's all variations of the same thing. There's a central human norm, and that which varies from the human norm beyond a certain point triggers a reaction that says, “That's not the way it's supposed to be.” And it's just, eyes are too close together, eyes are too far apart, eyes are too big, or there's an extra one. There's one missing. We recoil from it. We recoil from something that is too different, too far off the norm. And of course, in strictly social terms, you can say, but why, why should we? We shouldn't really respond in that way to others who are too different. But we do respond that way, and it comes with the programming in a very real degree. JOHN: How does that connect, then, to another movie on your list, The Island of Lost Souls, from 1932? NEAL: I think it's central to that list. The notion of the difference between that which is human and that which is animal. And Moreau, who experiments with making animals into human beings, but not really. And the sort of terrifying revelation when our hero and the woman—who we know to be an animal woman, but she looks fundamentally human—escape out into the woods and come across the animal person village. And the realization to what extent Moreau has been experimenting. It's not just tens or dozens. The animal people just come flooding out of the woods. And it's just hundreds. And the extent and the depth and the kind of nightmarish quality, they're all different. They're all horrible. And it's just like, what has Moreau been doing? He experiments with these animals, gets them to a certain state, and then he just discards them and moves on to something else. This utterly careless, sadistic god of this army of nightmares. And you sort of see when they do their, you know, “Are we not men?” And you just see row upon row upon row of these hideous nightmare faces. And you just say, “My God, what has this guy been doing for years? Just making these monsters.” JOHN: It's a classically creepy movie. I do want to ask you about the classic ghost story movie, The Haunting, and what that says about our fears. If you can, maybe tie that into Ghostwatch, because there's a similar sort of thing going on there. NEAL: They're both intriguing. They both are opening us up to this notion of unseen nightmare forces, especially the original Haunting, which shows us nothing. All you ever see: Doorknob turning. A face that may or may not be in the wall. This horribly loud banging on the door. A moment where someone thinks that her hand is being held, but there's no one there. It is simply this notion of a house that is born bad, but never really fully explained. Again, you have this idea of the world itself that should be well behaved, that should be governed by comprehensible natural laws. But there's something deeper and darker and incapable of truly being understood, nevermind being controlled. And if you just prod it a little bit too much, you're going to open it up to forces that are utterly destructive and utterly malevolent. And in both of these cases, you have this man of science and his team that are going to find out. “We're going to find out for sure whether there really are ghosts, whether there really is a supernatural, whether it really is life after death. We're going to nail this down for science.” Yeah, don't do that. Don't do that. These are things that are, that are not meant to be explored, not meant to be examined. Go back. BRIAN: I'm reminded of Van Helsing's sign off on the original Dracula, where he said, “Just remember, there really are such things in this world.” NEAL: Yeah. Yeah. And, and the same thing is true in some ways on a much more terrifying scale with Ghostwatch, where it's just, it's this kind of, “It's all just fun and Halloween, we're going to explore this. It's the most haunted house in Britain.” And it's broadcasters whose faces everyone knew at the time, and they were playing themselves. Going to this haunted house where you had these poltergeist phenomena. And we're all going to, “We're going to do it live and call in with your own experiences about being haunted.” And it all just goes so horribly wrong. JOHN: Now, Neal, I just watched that for the first time this week. Heard about it for years. I had no idea that those were real broadcasters. I thought they were really good actors. But to someone in Britain watching that, those are faces they saw all the time? NEAL: Yeah. Those are real broadcasters. They had their own shows. They were real, the real deal. JOHN: Wow. I highly recommend renting it because—it'll test your patience a little tiny bit, because it is quite banal for quite a while, as they lead you into it. But now this new bit of information that these are all faces that that audience who saw it, quote unquote, live that night, it's as terrifying as I imagined the Orson Welles' War the Worlds would have been. Because it seems very real. NEAL: And apparently the way they did it, is that there was a number you could call in. And if you called in that number, they would tell you, it's like, “Don't worry, this is all just a show.” But so many people were calling in, they couldn't get through. BRIAN: This really is War of the Worlds. NEAL: So, they never were able to get to that message that would tell them, don't worry, it's all just a show. So apparently it panicked the nation, because part of the premise was at a certain point, the ghost that was haunting the house got into the show. And so, the studio itself became haunted. It was really spectacularly well done. JOHN: It is. It's great. Let's just sort of wrap up here real quick with Neal, if you have any advice for beginning screenwriter about how to best create a really powerful and effective horror screenplay, any little tips. NEAL: Well, first of all, and I touched on this before, jump scares don't work on the page. You need the loud bang. You need the hand reaching in from the side. You describe that and it doesn't work. So, you have to rely on creating that sense of dread. And while writing screenplays, you have to keep things tight. The concept, the idea—in the same way comedy screenplays have to be funny—scary screenplays have to be scary. It has to be scary on the page. If it's not scary on the page, you're not going to sell the screenplay. And that's the fundamental trick. You got to make it scary on the page. JOHN: Excellent advice. All right, let's just quickly, each one of us, tell our listeners a recent favorite horror film that you've seen in the last couple years.I'll start with you, Brian. BRIAN: Just last night, I saw Haunting in Venice. And it worked because I had seen the other Kenneth Branagh/Agatha Christie adaptations, and I was very familiar with, and you know, you already know generally that kind of detective whodunit story: it's going to be very, you know, using logic and rationality.And when they had this episode that was sort of a one off—sort of a departure from that usual way that mysteries are solved—it was very effective. I think if I'd seen it without having already watched a bunch of Agatha Christie adaptations, I would have said, “Oh, that's an okay Halloween movie.” But having seen those other ones, it was an excellent Halloween movie. JOHN: Excellent. That's on my list. The movie I would recommend, which really surprised me, my wife literally dragged me to it because it was a French film called Final Cut, which is a French remake of a Japanese film called One Cut of the Dead. At about the 30-minute mark, I was ready to walk out, and I thought, why are we watching this? And then they took us on a ride for the next hour that, it's a really good ride. It's called Final Cut. BRIAN: And this is not to be confused with the Robin Williams Final Cut from... ? JOHN: Not to be confused with that, no. Or if you can go back to the original and watch the Japanese version. But what's great about the French version is they are literally remaking the Japanese version, to the point where they've made all the characters have Japanese names. Which the French people struggle with enormously. It's a highly effective film. Neal, how about you? Take us home. NEAL: Okay. It's not a new movie, but I just saw it very recently. It is a Chilean stop motion animated film called The Wolf House. It describes the adventures of a young Chilean woman who escapes from a repressive German colony and ends up in this bizarre house in which she blends into the walls. She's escaped with two pigs who grow up with her in this house, but again, nothing, no way in which I describe it is going to convey to you how deeply disturbing and chilling this movie is. It really is quite indescribably bizarre and disturbing and just well worth your time to watch. It's not quite like any other movie I've ever seen.

Patrick answers listener questions about acceptable body posture in church, can a priest chant Eucharistic prayers at Mass, and is it enough for Christians to believe in Jesus to make it to heaven? Guillermo - Mass was said by the Jesuit community that is pro-LGBT movement. Is it a legit Mass? Mark - John 3:16-18 - Is it enough for other Christians to believe in Jesus not to be condemned? Rosalia - Body postures while at Church. Is it wrong to cross legs? Money stored in Venmo and other payment apps could be vulnerable, financial watchdog warns Marriage collapse, absent fathers 'unraveling' Christianity in growing US crisis Margaret - I was at a Mass where the priest chanted during the Eucharistic prayers 'This is my body' is that appropriate? Stephanie - My brother-in-law is atheist, and is separated form his wife because of infidelity. Are there any books I can send them to help bring them back together and to bring him back into the faith? John - How do I explain to my protestant's brother the incorruption of saints' bodies and how those are miracles? Sam - Regarding John 3:16: are there other instances in the New testament where people would get the idea of only needing to believe in God to be saved?

Patrick answers a plethora of questions about, the Eucharist, whether or not you need a Confirmation saint, the possibility of extraterrestrial life in our universe, different beliefs of baptism among the various major Christian denomination. Therese - Why is Mt 17:21 missing from my Bible? John - How is it determined which Eucharistic prayer is used at mass? Patricia - Confirmation: My granddaughter's Church said if they don't pick a saint, that's ok. What does Mr. Madrid think? Alonso - I know why Bathsheba was bathing on the roof. I think in Semitic world, women hung out on the roof. Joanna - How to I believe the body of Christ is present in the Eucharist. I have sometimes trouble with the Eucharist. How can I believe better? Belkya - In reference to aliens: I don't believe in aliens, but my friend does. She doesn't think God would only create humans. What should I say? Andrew - The difference between Baptism and Eucharist in the Protestant Church/Catholic Church. I'm going to a Bible study tonight with Protestants. Patrick reads an email asking for a book recommendation about helping her pray to the saints. Miguel - How do I talk to Protestants who say we worship Mary?

Patrick tackles the question of Jesus' divine and human nature, ways to help wickens back into the Catholic Church, whether or not demons can take physical form and answers the question why women can not be ordained priests. Paul - Did Jesus have to separate his humanity and divinity? David - unclean food- what was Jesus talking about here? was it about food or dirty hands? Jack - Can you recommend a book for wicken that can lead him away from that? Marie - What is the American Catholic Church? Andrew - Can demons take physical form? What is the power of mystical objects? Alex - Why aren't women allowed to be in the priesthood? Malgorzata - Looking for English book for kids preparing for first communion? Gabriella 13-year-old - does Sunday count in lent? Joe - What does it take to desecrate a Catholic Church? does making out count? John - How to network for Catholic scripts/stories?

John Broschak is a gem of a human being, going through many peaks in valleys in his professional life, and now firmly in #theRFZ (The ReFirement Zone), he brings great energy every visit. John mentioned his eleven positive affirmations and here they are-1. I choose to start my day with a smile.2. I will radiate positive energy into my day and being in the now.3. I enjoy the person I am and the person I'm becoming.4. I am powerful, capable and confident.5. I am receiving all that I need, as I need it.6. I adapt to change quickly and easily.7. I accept others as they are 8. I channel anger into love and understanding.9. I am the kind of person who gets things done.10. I am achieving all of my goals and dreams.11. I will make today a great day.In this episode be listening for these talking points-John and his experience with the magic of affirmationsThe Stoics, and philosophies of controlling judgement and voluntary actionsBeing in the 'Now'The black hole of 'comparison & vanity'Books recommended by John-How to Eliminate Negative Thinking -- Stumbling on HappinessFor more information on past guests, Tom's published books, and how to get in touch, please visit our newly updated website at https://www.tommattshow.com#theRFZ #RFZ #radio #broadcasting #podcast #michiganradio #lansing #westmichigan #mentalhealth #selfhelp #mindfullness #affirmations Thank you to Brock Fletcher and the selling team of Keller Williams Realty for their continued support of our programming!'The Tom Matt Show' Heard on-The Michigan Talk NetworkWKAR Michigan State Universities AM 870 & 102.3 FMWJIM-AM 1240 LansingWYPV FM 94.5 Mackinac Citywww.tommattshow.com(podcasts)iTunesFor more information on past guests, Tom's published books, and how to get in touch, please visit our newly updated website at https://www.tommattshow.com#RFZ #radio #broadcasting #podcast #michiganradio #lansing #michiganradio #mab #refirementzone #successstory #humaninterestpodcast #selfhelppodcast

One of your greatest leadership secrets has been with you for your entire life. It was celebrated when you first started to use it and then it just became “normal”... It is something you use each and every single day, but you probably don't think about it very much… It is your VOICE! In this episode, best-selling author and leadership coach Nils Vinje speaks with John Henny about how leaders can tap into the incredible potential they have in their voice. John is an all-star vocal coach and has experience working with some of Hollywood's biggest stars. Tune in to this episode to discover an entirely new side to your voice and how big of an impact your voice has in leadership. Podcast highlights: 1:59 - Tuning and using your voice - What role does your voice play in leadership and communication? 5:06 - Engaging tone of voice - What is it that makes pitch and range more engaging to listeners? 7:02 - Speaking with intention - John explains the different types of intentions and why intention is important. 9:17 - How to approach intention - Should intention be thought of as a whole or in segments? 14:28 - A voice with no tone - What are the ramifications of not paying attention to your voice? 16:24 - Vocal health awareness - Why is it that only a small percentage of the population understands tonality? 17:59 - Taking better care of your voice - John shares the common pitfalls of losing your voice. 22:57 - A healthy balance - How to balance taking care of your voice and having fun, without going overboard? 24:20 - A mature voice - What role does age play in your voice? 28:53 - Vocal coaching in groups - John details what it's like to get involved with a company or organization. 32:37 - Working with John - How to get in touch. Learn more about your own leadership style at: https://www.B2BLeadersAcademy.com/ #Leadership #B2BLeadership #BusinessLeader This episode is brought to you by the B2B Leaders Academy The cost of not consistently developing your leadership skills is enormous. At the B2B Leaders Academy you can gain access to monthly leadership training and live coaching. Being a great leader isn't hard, you just need a guide and the right set of tools. Head on over to b2bleadersacademy.com and become the leader you have always wanted to be.

Summary: In the ninth episode of Season 10 of the Propcast, host Louisa Dickins is joined by Eric Duchon, Global Head of ESG for Blackstone Real Estate and John Fitzpatrick, Chief Technology Officer of Alternative Asset Management Technology at Blackstone, the world's largest alternative asset manager. John featured previously in Season 2 of The Propcast. Eric and John share where Blackstone is on ESG and why they are seen as one of the leaders in this space. They talk about what Blackstone is focusing on as a business when it comes down to strategy, investment and innovation across their diverse and global portfolio. In this episode you will hear how Blackstone ensures attractive returns for their investors whilst making a positive impact on the communities in which they invest. Resources: LMRE Global Recruitment and Search Consultancy LMRE YouTube Interviews Companies Mentioned: Sphera Schneider Electric EQ Office Willis Tower Aquicore Shout Outs: Don Anderson StuyTown Kenneth Caplan Kathleen McCarthy Baldwin  Jonathan Gray  Key Insights From This Episode:     We believe that ESG is a real source of value and a way to mitigate risk in our portfolio - Eric   What drove me into this space is the use of passion to drive change, whilst driving value - Eric We do need the technologies that help us automate and optimise our buildings but this also requires the people that know what they're doing - Eric Technology is important, but having a clear strategy is the starting place that people should have if they want to achieve their ESG targets - John About Our Guests: Eric Duchon: Eric Duchon is Global Head of ESG for Blackstone Real Estate. As part of the Real Estate Asset Management team, he partners with the firm's central ESG team and Portfolio Operations to initiate, manage, implement and report ESG initiatives across the global Real Estate portfolio. Prior to joining Blackstone in November 2020, Mr. Duchon was at LaSalle Investment Management where he was a Managing Director and Global Head of Sustainability. Prior to LaSalle, Mr. Duchon spent over 9 years at Cushman & Wakefield as the Director of Sustainability Strategies. Mr. Duchon received a BBA from Emory University – Goizueta Business School and a Masters in Real Estate Development Degree from New York University Schack Institute of Real Estate. John Fitzpatrick: John Fitzpatrick is Chief Technology Officer of Alternative Asset Management Technology at Blackstone. He handles all aspects of technology across Blackstone's Real Estate and Private Equity businesses and assists our portfolio companies with managing their technology programs and strategy. He is also involved in the firm's balance sheet investments in targeted, early stage, technology-related opportunities. Prior to his current role, Mr. Fitzpatrick oversaw various initiatives across the entire Technology and Innovations group. Before joining Blackstone in 2011, Mr. Fitzpatrick worked at Capital IQ, a division of Standard & Poor's, for seven years where he was most recently the Head of Product. He received a BS in Finance from St. John's University and currently serves on the Blackstone Charitable Foundation's Leadership Council. About Blackstone: Blackstone is the world's largest alternative asset manager. We seek to create positive economic impact and long-term value for our investors, the companies we invest in, and the communities in which we work. We do this by using extraordinary people and flexible capital to help companies solve problems. Our $941 billion in assets under management include investment vehicles focused on private equity, real estate, public debt and equity, infrastructure, life sciences, growth equity, opportunistic, non-investment grade credit, real assets and secondary funds, all on a global basis. Further information is available at www.blackstone.com. Follow @blackstone on LinkedIn, Twitter, and Instagram. About Our Host Louisa Dickins Louisa is the co-founder of LMRE, which has rapidly become the market leading global PropTech recruitment platform and search consultancy with operations across North America, United Kingdom, Europe and Asia-Pacific. To promote the industry she is so passionate about, Louisa set up the Global podcast ‘The Propcast' where she hosts and invites guests from the built environment space to join her in conversation about innovation. About LMRE LMRE is globally recognised for leading the way in Real Estate Tech & Innovation talent management. From the outset our vision was to become a global provider of the very best strategic talent to the most innovative organisations in PropTech, ConTech, Smart Buildings, ESG, Sustainability and Strategic Consulting. At LMRE we are fully committed at all times to exceed the expectations of our candidates and clients by providing the very best advice and by unlocking exclusive opportunities across our global network in the UK, Europe, North America and Asia-Pacific. Timestamps: [2:06] Eric: What is your role at Blackstone? I lead ESG for Blackstone Real Estate globally, this means myself and my team work with all the departments at Blackstone to ensure we are implementing our ESG priorities as they are aligned with our fiduciary duty to add value to our portfolio and deliver great returns to our investors. We are finding ways to continue delivering value and ensuring that we are improving the environmental, social and governance performance of our companies and our assets. [4:44] John: What are your responsibilities in your role at Blackstone and how have they changed? My responsibility is alternative asset management technology, this involves everything under our private equity and real estate umbrellas, it's more than half of the AUM at Blackstone and really fits within ESG. [5:35] Eric: What does ESG mean to Blackstone and how has it changed since you joined in 2020? There were great initiatives happening across Blackstone when I joined with regards to ESG however, the firm needed a more programmatic approach which is what we have done over the last 2 years. We're focused on 3 main areas; diversity, decarbonisation and good governance. This guides everything that our ESG teams do and how we continue to integrate this more programmatic approach into our portfolio. [7:40] John: How does your team assist with the ESG part of Blackstone? If you want to hit targets and goals then you need to be able to get the data and track it to see your progress over an extended period of time.  It's our job to collect that data in the most streamlined fashion so we can process that content in real time to ensure we are driving towards those targets [9:05] John: Are there any more climate focused ESG investments across your portfolio that you could share with us? The data and insights that we have got from Sphera have helped us improve and learn in this space and helped our ESG technical ecosystem. [9:42] Eric: How do these investments assist with your portfolios? We worked to develop a framework which sets out Blackstone Real Estates ESG priorities across 6 pillars, these set the tone for how we engage with the portfolio companies in order for them to develop their 3 year strategic ESG roadmaps. [13:31] John: How do you tackle the technology gaps in businesses across your portfolio? We use our data initiatives to help them implore technology and try to make the transition as seamless as possible. We can then analyse and track their data and help them achieve their targets. We tend to make investments in solutions that have a competitive advantage or a unique data set like Sphera.  [17:11]  Eric: What are the main barriers when it comes down to reducing carbon across your portfolios? A couple of years ago the social aspect of ESG was focused around  health, wellness and community engagement. Today, it is more focused on diversity, equity and inclusion. When we look at PropTech solutions for ESG one of the main barriers is being able to identify what the strengths and weaknesses are. There are some really good processes in place but humans are still necessary to ensure the quality data flows through. We need to ensure that we have the right people that understand the technologies and can drive action from it. [20:45] John: Is there anything you would like to mention that you have seen in terms of barriers? Technology is important but having a clear strategy is the starting place that people should have if they want to achieve their ESG targets. [23:00] Eric: What is the balance between automation and optimisation, and reducing carbon footprint?  We need the technologies that help us automate and optimise our buildings but this also requires the people that know what they're doing. When our US office portfolio company EQ office implemented Aquicore, it really improved our insight into the daily operations of all the operating equipment. This allowed us to recognise better start-stop sequences in the building. L – Touch on the main lessons you have learnt throughout your career within this space? Eric: You need to stay nimble in everything that you do, different things come at you everyday and you need to be able to take them in your stride. M - Please give a mention to anyone / product / service. John: Jonathan Gray, President at Blackstone, he is committed to ESG and doing it the right way.  R – What has been the most  rewarding  aspect of working in ESG? Eric: Whether you're reducing carbon emissions, whether you're ensuring that folks from under-resourced communities are getting better opportunities working with our portfolio companies. That to me is what drove me into the space connecting the passion to drive change. E - What are you excited about in the future of the ESG space? John: The innovation that is coming down the pipe, some of the best and brightest minds are in this space that are really passionate about this topic so the landscape in a few years time is going to look vastly different. Sponsors Launch Your Own Podcast A Podcast Company is the leading podcast production and strategic content company for brands, organisations, institutions, individuals, and entrepreneurs. Our team sets you up with the right strategy, equipment, training, guidance and content to ensure you sound amazing while speaking to your niche audience and networking with your perfect clients. Get in touch jason@apodcastcompany.com

Scripture Reading is in 1 Corinthians and John  How different men in history wanted to know Jesus with undivided attention and how it has changed Christianity today. 

Patrick tackles the issue of the Churches stance on how to properly bury the ashes of the deceased, shares interesting facts on electric cars and salt water and answers how the rosary is connected with the bible. Patrick reads an email regarding the scattering of a person's ashes Todd - What are your thoughts on near death experiences? what does the church say about this? Electric-vehicle fires have burned down homes after Hurricane Ian saltwater damage. Florida officials want answers – Fortune Patrick answers some emails Elena - If a woman is pregnant and the doctor says that only the woman or the baby can live, what happens to the woman's soul if she chooses the baby to live and sacrifices herself? John - How can I be non-divisive when it comes to voting about abortion? Patrick answers an email asking if it's okay to wear Evil Eye Jewelry Dan - Is the rosary referenced in scripture either directly or indirectly? Starr - Mother-in-law cremated and ashes are spread between people - what should we do with our part of the ashes?

Do you know God's calling for your current season of life? If so, are you living it out? And if you don't know your calling, do you know how to discover it? Learning God's calling for your current season of life is a multi-layered and multi-faceted endeavor. I want you to know your calling so badly, so I'm going to provide you with guidance from the Bible to help you figure it out. We can't go through all the aspects at one time, but today, in episode 157, I'm going to share with you the one thing you need to get started in figuring out your calling.  In this episode, we cover: How God calls us to serve in different seasons of our lives The one thing we need to find our callings Lessons learned from the lives of the disciples, Peter and John How to get started with a quiet time routine Resources mentioned: The Abide Bible Study and Prayer Journal

Last week I held a Facebook "Ask Me Anything" session to help podcasters with their challenges. We talk about how to get started, how to structure your strategy to grow your business, how to balance the why with the "how to" and more. If you want to launch your podcast in 30 days, join me for my free training "How to Launch a Podcast in 30 Days or Less to Attract Your Ideal Clients." It is free to register and it happens on Sunday, July 24th at 7p CDT. You can register at www.PodcastTalentCoach.com/podcastfast. If you have challenges and struggles with any part of your podcast, come join me Sunday evening at 6 PM Central Daylight Time for another "Ask Me Anything". I would like to help you achieve your goals. You can join us for the Facebook Live at www.PodcastTalentCoach.com/facebook. ASK ME ANYTHING Here are the Ask Me Anything questions we answer this week: If you have a solution for how we can get the word out globally to bring in volunteer help to do the global, social media, outreach for this worthy cause, that information would benefit us, especially, me. - Robin What hosting and editing software do you recommend for an absolute beginner? - Chris Do you encourage to produce a video version (for YouTube, etc) in addition to the audio podcast? How do you decide to add video versus audio only? - John How do you attract advertisers? - Carl How can you monetize if you don't have a stand alone business? - Carla How do I know if Podcasting is good for my business? - Janie Do you have suggestions on how to promote? - Luke As a beginner, how did you decide what equipment to start and what platform ... Should I buy a mixer, etc? - Rick It is hard for a dedicated teacher at heart to cut back on the how to. How do I strike a balance? - Joanne What is the ideal length of time and regularity for a podcast? - Serenity How do we know if we have a good idea for a Podcast? - Roxanne When teaching and creating content from scratch, I figured 9 hours of prep for 1 hour of teaching. What is the prep time for podcasting? - Jerry Would you suggest it's "ok" to launch my podcast prior to having some of my other content ready to roll out? - Jeri Enjoy this episode. It is my hope that you get a few of your questions answered. JOIN US Thanks to everyone who joined us for the Facebook Live "Ask Me Anything". Coaching is what I love to do. If you have challenges and struggles with any part of your podcast, come join me Sunday evening at 6 PM Central Daylight Time for another "Ask Me Anything". I would like to help you achieve your goals. Join the Facebook Live at www.PodcastTalentCoach.com/facebook. Post your questions and get them answered.   If you don't have a mentor who can take your hand and walk you every step of the way, go to www.PodcastTalentCoach.com/apply, click the button and apply to have a chat with me. We will develop your plan and see how I can help and support you to achieve your podcast goals.

Patrick responds to an email asking about Nancy Pelosi receiving communion at the Vatican  Dawn – I'm a professional musician and was hired by a band that has music that relates to Satan. I quit. What are your thoughts?  Tim - You said that St Augustine said “miracles are no longer necessary.” Where can I find that quote?  E Frank - Is practicing sacramental life necessary to be part of the Catholic Church?  John - How should I answer my protestant friends who say they KNOW they are saved?  Tom - How can anyone be denied communion at one church but then receive it at another church?  Denise - 'Rules for Radicals': Do you think that Saul Alinsky had something to do with the infiltration of the church 

Email form Tyler – Question about Hate Crimes Shannon - Comment about Alex from yesterday: I wanted to add another female pro-life voice to the conversation Email from Mary – When will the Covid Gene injections stop? Email from Robert – Can you recommend a good large print bible? Email from John – How do I handle impure temptations that could arise with my Son? Kathleen - If Patrick believes that the child is a human being, then why would he call that child an it? Linda - Comment about Patrick's abortion comments: there's been a lot of protests in TX about the heartbeat law. On Saturday there was a protest outside of my building 'my body my choice'. Charlene - Comment about abortion: I lived through that era and I had many friends who had abortions and it didn't go well.  it was all about the choices they were able have. Patrick shares audio showing logical fallacy of My Body my Choice in regard to Vaccine Mandates Check out the New Video by Father Rocky on the Eucharist James - My Body My Choice inconsistent with Vaccine Mandates show a logical fallacy in this reasoning. Bernadette - Anointing of the sick: can someone receive it for someone else?

HR3 Kurt Rogers & John: How to Win the Home Financing Game and Financial Strategies 05-19-22 by John Rush

This week I get to interview acclaimed author and speaker John U. Bacon. John has written 12 books on sports, busienss, health and history, the last seven all National Bestsellers. In his latest book which "Let them Lead" he talks about what he learned coaching America's worst high school hockey team. I ask John "How do you let them lead?" we discuss how to make leadership a team effort, who our favorite teachers were and why, and so much more. If you are part of a team you don't want to miss this episode. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Q&A: 1. Matej - How to date multiple girls without misleading and how to tell them? 2. V - What to do if a girl isn't comfortable giving you her number? 3. John - How to date in conservative culture like Dubai? 4. Niel - The girl I'm seeing keeps pulling back and never initiates.MORE RESOURCES HOOKED Video Masterclass: https://getherhooked.com/1-on-1 Premium Coaching: https://www.coachedbytripp.com/The Irresistible Academy: https://trippadvice.com/academy/Get my book Magnetic: https://trippadvice.com/bookYoutube Channel: https://www.youtube.com/trippadvice Leave a voicemail: 323-432-0025SEE WHAT I'M UP TOInstagram: https://www.instagram.com/trippadvice/Twitter: https://twitter.com/TrippAdviceFacebook: https://www.facebook.com/TrippAdvice/

Today, Nick welcomes a long time friend and ridiculously talented musician — as well as one of the biggest influences in punk music — John Doe. John is the founder of the legendary band X as well as an actor, having held roles in movies like Road House and Boogie Nights, and TV shows such as Roswell. John comes on the show today to share his experiences and thoughts on recording X's latest album Alphabetland as well as working with legends Ray Manzarek and Robby Krieger, his South American tour with Pearl Jam, his work with The Knitters and The Flesheaters, and the two critically acclaimed books he co-authored: first-person accounts of the burgeoning LA punk scene of the 1980s. Tune in for a great conversation with a man with a heart of gold, the best of humans, John Doe.   Key Takeaways [:20] A big thank you! Nick takes a minute to thank all of the Radical Podcast subscribers and invites other listeners to subscribe and rate. [2:40] Nick welcomes John and asks him how his Texas quarantine is unfolding before diving into questions about how the local scene has been affected by the pandemic. [9:59] On recording the latest X album, Alphabetland, John talks about the differences in the creative input from all of the band members as well as keeping his own ego in check and developing a stronger feeling of unity. He also touches on the wisdom gained with age as it relates to keeping relationships running smoothly. [14:48] John shares his thoughts on the often-challenging process of recording an album and offers up his personal advice for maintaining your creative integrity in the face of third-party [i.e. record executives] pressures. [19:30] The influences that led John down the musical path began with the folk music he was given as a child but really blossomed into a calling with the more psychedelic sounds of The Doors, Janis Joplin, Jimi Hendrix, The Rolling Stones, and so on. He talks about his move to the West Coast, having had enough of Baltimore and the sh*tty weather and attitude on the East Coast. [25:00] A loving classical music household — though his parents weren't fond of Rock and Roll — is something that John is very grateful for, having known a lot of people for whom that wasn't the case. [26:50] John talks about his relationship with his producer the legendary Ray Manzarek and though he doesn't remember their very first meeting, he recounts a nervous rehearsal and the first $10K that X got to make a record “Ma! We made it!” [32:40] John talks about his other, more recent, The Doors connection with Robby Krieger playing on X's latest album as well as the funny anecdote that led to his contribution. [33:52] On touring with Pearl Jam in sold-out stadiums — John offers that the Pearl Jam bubble might be the best way to see South America! He shares a few anecdotes from his crazy time there. [36:24] Solo or live? John is of the mind that whatever you're not currently doing is the one thing you think you'd like! But he does open up on the fears he has to manage around the thought of X having played its last concert. [39:50] Acting is jokingly a little more mercenary for John — How much do I get paid? He talks about how he got into playing his many roles and how rewarding it is in a quieter kind of way. [46:00] Publishing is weird! John talks about co-authoring his two books despite not being a raconteur as well as releasing the books around the time the LA Punk Rock scene was having its NPR wine and cheese moment which led to successful sales. [51:49] John shares his current musical interests. [53:40] Nick thanks John Doe for coming on the podcast and sharing so much of his story. Thanks for listening! Don't forget to rate us and subscribe wherever you listen to your favorite podcasts and tune in next week.   Find out more about today's guest, John Doe Find out more about your host, Nick Terzo   Mentioned in this episode: Fat Possum Records Skating Polly Particle Kid Sunny War The Psychedelic Furs Bob Dylan   People: Exene Cervenka Billy Zoom DJ Bonebrake @WillieNelson Rob Schnapf @PearlJam John Waters Divine (Glen Millstead) Mary Vivian Pearce Ray Manzarek Robby Krieger Allison Anders Kurt St. Thomas @JaneWiedlin @DaveAlvin @HenryRollins @PleasantGehman   Projects: X Alphabetland The Knitters The Flesheaters Road House Boogies Nights Roswell Under the Big Black Sun: A Personal History of L.A. Punk More Fun in the New World: The Unmaking and Legacy of L.A. Punk