Podcast appearances and mentions of jules what

更多英语知识，请关注微信公众号: VOA英语每日一听 Jules: Hey Nathan, do you go to the gym?Nathan: Yes, Jules. I do try to but I'm a bit, I don't know what the word is.Jules: Lazy?Nathan: Inconsistent. No, thanks very much.Jules: What do you do at the gym? What do you actually do?Nathan: What do I do at the gym? I try to work on specific back and lower back muscles but it's quite difficult.Jules: On a machine or?Nathan: Well that's the unfortunate part is that the gym that I go to doesn't have a proper barbell so most of it's machine work or...Jules: Barbell, is that a thing you lift?Nathan: Like the big long bar, all the muscle dudes kind of use.Jules: I don't know much about that kind of stuff.Nathan: But there's enough and then I usually do like forty-five minutes of different lifts and then about an hour kind of stretching afterward. But, yeah, I don't like the gyms so much, you know.Jules: Why not? What don't you like about gyms?Nathan: Number one, I get paranoid.Jules: Do you?Nathan: If there's like really muscly guys there or something. I'm like...Jules: Paranoid or self-conscious?Nathan: Self-conscious maybe yeah. And then the other thing is I find that some gyms are not really gyms. They're just socializing places.Jules: I guess that if that's the only function, you become a member, you hang out.Nathan: You sit on a machine that everybody else wants to use and you talk for forty-five minutes.Jules: Ah, I see.Nathan: And then...Jules: You have some peeves about the gym do you?Nathan: Yeah, and then I'll go up to the guy or the girl who's sitting and just chatting and I say do you mind if I use this machine and then they start using it. I'm like ar.Jules: Machine hogs?Nathan: Yeah. But the thing is you have to, you want to keep your muscles warm so you want to go in a kind of a set routine and if you skip, say you start off with your lower legs and you work up through your body, for example, you want to keep like the next set of muscles around it warm but you can't do that if the machines or the weights you want to use are hogged.Jules: You have to sit around and wait?Nathan: Yeah and then you have to miss that out so that kind of drives me nuts.Jules: I don't really understand machines. I've never really used a gym machine before.Nathan: No?Jules: No. If I go to a gym, I go to the studio and done some kind of workout.Nathan: Yeah.Jules: I like classes. I like classes to music where you can jump around and dance in front of a mirror.Nathan: Yeah, aerobics?Jules: Yeah, those kind of things, yeah.Nathan: But you're like a yoga teacher so...Jules: I'm a yoga teacher, yeah. Actually I've never done yoga in a gym. I know that a lot of gyms now offer yoga classes because yoga classes are really, really popular.Nathan: Yeah.Jules: And I guess it's a good partnership with muscle work and stuff if you want to stretch out.Nathan: Great.Jules: But for me, yoga is much more philosophical and much more about relaxation and meditation and far more about your inner world, and the gyms don't seem like the right environment for me to practice yoga.Nathan: Right.

Welcome to Everything Trying to Kill You, the comedy podcast that talks about horror movies! In episode 62 about Drew Goddard’s Cabin in the Woods your hosts Mary Kay, Rachel, and Mary try to answer questions like these: What would Drew Goddard do if we took away two-way mirrors? When you walk into a bar bathroom, do you check to make sure the mirrors aren’t two-way? What horror trope would you pick from that basement? What about setting? Is this movie scary? How amazing is this actress who plays Jules? What was your favorite on the white board list of monsters? Did you think that it was going to be Marty who survived? Why is Rachel obsessed with this character? What do all these monsters do? What is the overall narrative supposed to mean? Why does it look differently across cultures? If this manipulation of others’ suffering will ultimately save the world, are the scientists really bad guys? Is this just a really meta-trolley problem? Is it wrong to take joy in your job when it’s more of a coping skill than an off-hand dismissal of suffering? Why does the virgin have to die last? And why does it not matter if she dies? Is this meant to be an explanation of why our horror movies have evolved the way that they do? How is this related to the SIMS? What song would you HATE to play while you were being killed in a horror movie?Cabin in the Woods (2011)– Written by Drew Goddard and Joss Whedon and directed by Drew Goddard. Performances by Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams, Richard Jenkins, and Bradley Whitford.Genre: Horror, Thriller, Suspense, SupernaturalWhere to watch: Amazon PrimeSummary: When five college friends (Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams) arrive at a remote forest cabin for a little vacation, little do they expect the horrors that await them. One by one, the youths fall victim to backwoods zombies, but there is another factor at play. Two scientists (Richard Jenkins, Bradley Whitford) are manipulating the ghoulish goings-on, but even as the body count rises, there is yet more at work than meets the eye. Links: Pre-order Mary Kay’s book, America’s First Female Serial Killer: Jane Toppan and the Making of a Monster here!

Guests: Fab - @Fab_Roc_ Jules - @Jules.bejr 0:00 - 5:00 - Fab's Back ! Her journey over the past year 5:00 - 14:00 - How to set up a 4 week trip to Africa for the low 14:00 - 18:30 - What stuck w/ her the most 18:30 - 23:00 - Safari experiences 23:00 - 26:00 - Mazungu / Bye Fab ! 26:00 - 31:00 - Jules - What up Nupe / Homecoming @ All Black School 31:00 - 38:30 How fraternities operate / Selection Process / Politics 38:30 - 50:00 Modern challenges 4 Fraternity/Sorority crossing process 50:30 - 57:00 - Playing w/Kevin Durant @ Oak Hill & his maturation 57:00 - 1:04:00 - Lebron & KD weight of rings / The 'Shop 1:05:00 - 1:10:00 Kap, Eric Reid, and athletes in privileged positions 1:10:00 - Closing the tab - S/O to Krystal Garner !

David: In this second part of our survey of the human condition, we move from HG Wells’ s 1930s to a voice from the 1990s with no words. Rather than an obvious narrative, Baraka paints a canvas, bringing into focus piece by piece an image that turns more and more of its facets to the light but doesn’t really progress. As if it were less a film than a mandala, a shrine or a temple, it could serve it's purpose equally well on an eternal loop with an audience free to come and go. Perhaps referencing its own form, Baraka queries the value of advancement over stillness and contemplation. But we’re not invited  to contemplate the void so much as observe ourselves within it. Do we value simply being? Or only uncertain notions of betterment? Jules: What does spirituality mean if the only reality is physical? Does it connote anything more than aesthetics; the appropriate appreciation of a natural setting, or artistic conceit? Does it mean anything more than a type of experience that is unusual in some way, perhaps due to a drug? Baraka reaches for an answer to these questions, among others; but does a spiritual reality lie behind its images and sounds? And what would, or could, that mean, at the end of the second millennium?

David: We embark on a two part examination of the human condition, beginning with the movie of H.G. Wells’s 1933 novel of imagined future history. This modernist manifesto posits that humanity is distinguished from the animals by little more than ambition and the march of progress. There seems to be no alternative for us but onward, onward to the stars. Wells begins his fable with war, disaster and rebirth, perhaps meaning to describe the arc of civilsation from a fresh beginning, but also expressing pessimism about progress as the early 20th century defined it - sandwiched as it was between two world wars. Though inspired by the promises of science, Wells is perhaps poignantly aware that a one way shark-like need for forward motion down a one way street may contain the seeds of its own doom. Jules: What distinguishes a desire to change one's local world in some aspect – access new sources of fresh water, say – and a desire to transform it entirely? Is crisis always a requirement for such transformations? If the management of crisis is an essential part of statecraft, what rules out crisis-creation as a moral method of change?   ( hgwells sciencefiction future prediction prophecy thirties existentialism blackandwhite)

Jules: What becomes of the book in the age of the moving image? Peter Greenaway considers this question, among others, in this sumptuous 1991 production featuring John Gielgud in (apparently) his dream role as Prospero from Shakespeare's The Tempest. David: Frames within frames, and naked dames. And who to blame?