Podcast appearances and mentions of june bugs

It's episode 57 and right before hot footing it to Blackpool via Castle Cary, James is rambling about the new Mission Impossible movie, The Studio, his shows at Harvey Hall and Algonquin Resort and Trade & Convention Centre this week, Julie Wood's 30-year career of joy-giving, Lulujo founder Dawn Pottier, Taylor Sheridan's Land Man, June Bugs, drugs and sex in movies and his beloved aunt. 

For more helpful information, advice, and recommendations, go to www.dirtdoctor.com.

Many gardens are thriving, despite some fits and starts with lots more rain and humidity. Still, people have gardening questions! Charlie Nardozzi aims to answer quite a few.

No matter what you think about June bugs, we have to deal with them every year. In what she refers to as "exposure therapy," the CBC's Jane Sponagle met with Paul Manning, assistant professor in biology and entomology at Dalhousie's Agriculture Campus. He thinks the bugs are an important part of the ecosystem — and are actually really cute.

​Ah, June Bugs. They won't hurt you, but they're kind of creepy. Jeanne Armstrong spoke to UNB biology professor Stephen Heard to find out what's up with those big beetles that come banging on your windows in the spring.

Fun follow-up links:Mississippi June Bugs on YouTubeSix Shooter StudiosTupelo Cotton MillMysterious Circumstance: The Death of Meriwether LewisGround Zero - Clarksdale, MSOde to Billy JoeQuentin Compson III PlaqueElvis sings CC RiderMorgan Freeman singing with the MS June Bugs     Welcome to HEARD IT ON THE SHARK with your show host Melinda Marsalis and show sponsor, Mississippi Hills National Heritage Area. HEARD IT ON THE SHARK is a weekly interview show that airs every Tuesday at 11 am on the shark 102.3 FM radio station based in Ripley, MS and then is released as a podcast on all the major podcast platforms. You'll hear interviews with the movers and shakers in north Mississippi who are making things happen. Melinda talks with entrepreneurs, leaders of business, medicine, education, and the people behind all the amazing things happening in north Mississippi. When people ask you how did you know about that, you'll say, “I HEARD IT ON THE SHARK!” HEARD IT ON THE SHARK is brought to you by the Mississippi Hills National Heritage area. We want you to get out and discover the historic, cultural, natural, scenic and recreational treasures of the Mississippi Hills right in your backyard. And of course we want you to take the shark 102.3 FM along for the ride. Bounded by I-55 to the west and Highway 14 to the south, the Mississippi Hills National Heritage Area, created by the United States Congress in 2009 represents a distinctive cultural landscape shaped by the dynamic intersection of Appalachian and Delta cultures, an intersection which has produced a powerful concentration of national cultural icons from the King of Rock'n'Roll Elvis Presley, First Lady of Country Music Tammy Wynette, blues legend Howlin' Wolf, Civil Rights icons Ida B. Wells-Barnett and James Meredith, America's favorite playwright Tennessee Williams, and Nobel-Laureate William Faulkner. The stories of the Mississippi Hills are many and powerful, from music and literature, to Native American and African American heritage, to the Civil War. The Mississippi Hills National Heritage Area supports the local institutions that preserve and share North Mississippi's rich history. Begin your discovery of the historic, cultural, natural, scenic, and recreational treasures of the Mississippi Hills by visiting the Mississippi Hills National Heritage Area online at mississippihills.org. Musical Credit to: Garry Burnside - Guitar; Buddy Grisham - Guitar; Mike King - Drums/Percussion All content is copyright 2021 Sun Bear Studio Ripley MS LLC all rights reserved. No portion of this podcast may be rebroadcast or used for any other purpose without express written consent of Sun Bear Studio Ripley MS LLC

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Today on the show, host Raheel Ramzanali and Shafaq Patel, Houston reporter for Axios, are getting you set for the week with the stories you need to know. From how local counties will have to deal with our population boom to a sports curse that might impact the Cougars, the duo are talking about it all! Featured stories: Read Shafaq Patel's story on Houston's population boom Read Shafaq Patel's work here God Save Texas documentary Houston Chronicle's investigation into Harris County Constable Precincts  How the tollway funds constables  Rodeo Houston attendance records  University of Houston gets No.1 seeds in NCAA tournament  Drake visits the Cougars Blue Bell debuts new flavor  June bugs are invading!  Looking for more Houston news? Then sign up for our morning newsletter Hey Houston  Follow us on Instagram  @CityCastHouston Don't have social media? Then leave us a voicemail or text us at +1 713-489-6972 with your thoughts! Have feedback or a show idea? Let us know!  Interested in advertising with City Cast? Let's Talk! Learn more about your ad choices. Visit megaphone.fm/adchoices

 “Charlie vs June Bugs” “War with Russia” “Hunter Biden's Guilty Pleasures” “Presidents and Access”

Join us as we conclude our coverage of Bugs Bunny shorts with June Bugs! We look at a Bugs Bunny short that Jordan saved from an awful shorts episode with 'The Grey Hounded Hare' We then look at Marvin The Martian's second-ever appearance with Bugs in 'The Hasty Hare' and we conclude June Bugs with one of Marc's favorite Looney endings ever with 'Stage Door Cartoon' And stay tuned til the very end of the show for a special announcement about an upcoming episode! LINKS Support the show on Patreon!: patreon.com/TNQAF Follow us on Twitter: https://twitter.com/that_looney Follow us on Instagram: https://www.instagram.com/tnqaf/

June Bugs month concludes where Guillermo del Toro's English-language career begins. This week, Tim and Brennan are discussing the compromised ‘90s relic MIMIC!   Love the Podcast? Leave us a review! Follow Alternate Ending on Twitter and Instagram  Follow Brennan on Twitter, Instagram, and Letterboxd Follow Tim on Letterboxd Support Alternate Ending and check out our member perks, including voting for the films we cover on this program, via the Alternate Ending Patreon page!

06-20-2023 Daniel Cotter Learn more about the interview and get additional links here: https://dailybusinessjournal.com/2023/06/20/trusted-advisor-dog-days-of-summer-and-june-bugs-making-sure-your-worker-issues-are-right/ Subscribe to the best of our content here: https://priceofbusiness.substack.com/ Subscribe to our YouTube channel here: https://www.youtube.com/channel/UCywgbHv7dpiBG2Qswr_ceEQ

Join us as continue looking at Bugs Bunny shorts with June Bugs! We watch Bugs's attempt to try to take down this damn turtle once and for all in 'Hare Transit' Bugs meeting the infamously...one short character Pete Puma in 'Rabbit's Kin' And we conclude this week's episode with a look at a early Chuck Jones Bugs short as Bugs runs through a shopping center with a Dover Boys aesthetic with 'Hare Conditioned' LINKS: Support the show on Patreon!: patreon.com/TNQAF Follow us on Twitter: https://twitter.com/that_looney Follow us on Instagram: https://www.instagram.com/tnqaf/

Join us as we continue our viewing of even more Bugs Bunny shorts! Marc looks as Bugs takes on a mischievous magician in 'Case of the Missing Hare' Jordan takes a look at an early Yosemite Sam/Bugs short in 'Rabbit Every Monday' And we both see as Bugs goes against railroad worker Elmer in Frank Tashlin's only credited Bugs short with 'The Unruly Hare' LINKS: Support the show on Patreon!: patreon.com/TNQAF Follow us on Twitter: https://twitter.com/that_looney Follow us on Instagram: https://www.instagram.com/tnqaf/

Tim and Brennan are kicking off June Bugs month with some of the most surreal bug-themed horror you'll ever encounter, the Saul Bass directorial effort PHASE IV!   Love the Podcast? Leave us a review! Follow Alternate Ending on Twitter and Instagram  Follow Brennan on Twitter, Instagram, and Letterboxd Follow Tim on Letterboxd Support Alternate Ending and check out our member perks, including voting for the films we cover on this program, via the Alternate Ending Patreon page!

Hello and welcome to the June edition of Wookiee Beats on the B Beats podcast. This mix is just over 2 hours of JABaWookiee's usual blend of electronica, techno, house and assorted electronic beats, for your listening pleasure in the glorious June sunshine. Check out the track list and explore the great music produced by the artists included in the mix. Until next time, enjoy! Title / Artist Seeing Stars (Original Mix) / Mary Jane All Of A Sudden / The Chemical Brothers Hope / Stefan Kibellus Wasp / James Shinra Cosmic Dream / Dj Steaw Alien Voices / DAWS Runnin / Friend Within Trade / Eats Everything Dimensionless Moog SP / Legowelt Si-Rak / Humanoid Xoul Trap / Otik Da Creepin' Wasp / DJ Life & Reflex Blue Party Sized Away Day (feat Maria Uzor) / Acid Klaus Acid Leak / Redshape Clap Yo Handz / DJ Haus Reflection / Enrico Sangiuliano & Charlotte de Witte Never Be the Same (Maksim Dark Remix) / Karla Blum Back 2 Earth / Reflex Blue Aalto / Jeku Robotic Sales (Acid Redux) / Ben Pest Do You Sell Hardcore? / Denham Audio The Fall / Raxon Recovered Artefacts / Drumskull Planet der Verlorenen (Rene Wise Remix) / Rødhåd Begalybeje / Akmuo Palapa (Original Mix) / Monoky Afro Left / Eduardo Alba & Leftfield Chaos Energy / Daniel Avery, HAAi & Kelly Lee Owens For more information about the B Beats collective, please go to our website, bbeatsmusic.com

Join us as we begin our month-long celebration of Bugs Bunny with June Bugs! We start by looking as Bugs attempts to fly a plane with a criminal Yosemite Sam on board with 'Hare Lift' Followed by Bugs taking on the Big Bad Wolf (and some horrible little pigs) in 'The Windblown Hare' We then conclude with Bugs becoming the Easter Rabbit (Hooraaay) in 'Easter Yeggs' LINKS: Support the show on Patreon!: patreon.com/TNQAF Follow us on Twitter: https://twitter.com/that_looney Follow us on Instagram: https://www.instagram.com/tnqaf/

Trevor, Founder of William Ellery, and man who is strangely not named William joined me on the pod ttoday. We talked about Antarctica, June Bugs, and the best camp snacks to have check out the June Bug launch on June 4th: williamellery.co Come see my ugly mug and William's live reaction to it on the patreon: patreon.com/treesandnylon

June Bugs have arrived. The big insects can be...unsettling. So we thought we should learn a bit more about them. Steve Heard, a biology professor at the University of New Brunswick, tells us more.

This episode stars Jackson Bliss (Dream Pop Origami, Counterfactual Love Stories, Amnesia of June Bugs). It was recorded over the Zoom between the This Podcast Will Change Your Life home studio in Chicago, IL and Bliss' home in the City of Angels in September 2022.

Man oh man do we have a show for you guys this week! Jared and RJ talk about their day-long adventure down at the race track in Richmond. Tailgating sure was a blast especially when you use charcoal in a gas grill... Yes, that happened. Jared convinces RJ to wear a cowboy hat and it turns out he looked damn good doing it! Thanks, Jared! The atmosphere at the track was nothing short of spectacular and folks let us say that if you have never been to a race, please check it out. The adrenaline rush is out of this world and man was RJ feeling “it” This and much more plus RJ is being pursued by June Bugs!! Like Share Comment Subscribe and Be Safe 

News and More: State Representative James Hieb faces charges of interfering with a peace officer and disorderly conduct after being arrested at the Clackamas County Fair. The famous Cowboy Shoot returns to the Rod and Gun Club. Canby Conversation: We wrap up our coverage of the Clackamas County Fair and Canby Rodeo with Will Lummus, the No. 2-ranked steer wrestler in the world, and the June Bugs, whose freestyling tunes kept the Rodeo Stage rocking all week.  This Week's Sponsors: Clackamas County Fair, DirectLink, Canby Independence Day, The Book Nook, Mason for Oregon, Wild Hare Saloon, Canby Foursquare Church, Odd Moe's Pizza, The Odd Pod, Reif & Hunsaker P.C., Retro Revival Please support our show! To listen without ads, and ensure we can continue to bring you important news and amazing stories you can't get anywhere else, join Canby Now Plus today! For details, visit patreon.com/canbynowpod.

Welcome back to Fresno's original podcast, Flowing With Famous.  This month we talk about the new Ragin Records in River Park and try to decide if this makes River Park cool and does it even deserve to have something like a cool record store? Where have all the June Bugs gone? Band Of The Episode: Sharks Of Dance. We also talk about the return of Audra Mcdonald and get into a large Fresno dive-bar discussion. Thank you for listening! DOWNLOAD: FlwoingWithJuly22.mp3 (Occasional cussing alert!) Check some links to support your hosts: Josh's other podcast Aikido Discussed.  Josh at the Fresno Bee. Josh's local music newsletter: Bandgeeeek.substack.com. Josh's bands: It'll Grow Back, Big Balls, and the Strikingly Originals.  Mikey's new newsletter: Fresno! Fresno! and: Drinking & Thinking. Check Mike's blogs The Fresnan and Mikey Top Pour. Plus the podcasts Get Off My Podcast, The Perfect Pour.  

When we lived in Ohio, we used to have problems with Japanese Beetles. Over the last few years here in Tennessee, we've had a similar situation. But in the South, we deal with June bugs. But this year, thy didn't show up in June. They were a few days late... Click Here To Subscribe Apple PodcastsSpotifyAmazon MusicGoogle PodcastsTuneInStitcheriHeartRadioPandoraDeezerBlubrryBullhornCastBoxCastrofyyd.deGaanaiVooxListen NotesmyTuner RadioOvercastOwlTailPlayer.fmPocketCastsPodbayPodbeanPodcast AddictPodcast IndexPodcast RepublicPodchaserPodfanPodtailRadio PublicRadio.comReason.fmRSSRadioVurblWe.foYandex jQuery(document).ready(function($) { 'use strict'; $('#podcast-subscribe-button-13292 .podcast-subscribe-button.modal-62f20d85dfa82').on("click", function() { $("#secondline-psb-subs-modal.modal-62f20d85dfa82.modal.secondline-modal-62f20d85dfa82").modal({ fadeDuration: 250, closeText: '', }); return false; }); });

Mosquitoes? "No-see-ums"? Flies? JUNE BUGS? What is the most feared bug of summer? Photo Cred: Clip Art

In this week's episode of Are You There, Ghost? It's Me, Chiwan, we have Jackson Bliss, prolific author of three books in the past 9 months, including the most recent Amnesia of June Bugs. We talk about growing up Hapa in a small town in Michigan, about the legacy of violence that is passed down & how hauntings get passed down to the smallest things—even into an army man. #haunting #hapa #mixedrace #JacksonBliss #Ghosts #Paranormal

(4/4/22) Elon Musk knows how to combat Twitter, scooping up a 9% stake in the company; April is a stronger month for markets, but could the Fed's activity make for a sloppy summer of trading? Jobs Act 4.0 & How Wall St. extracts capital by changing "accredited investor" definition. More Life with the Roberts, the worst thing you can do for kids; anatomy of a bear market. Best Ice Cream Flavors, on-boarding back into the markets, the problem of market timing vs risk management. SEG-1: June Bugs, Twitter & Elon Musk, Moving into April SEG-2: The Things We Do Over and Over SEG-3: Workouts, Party Dresses, & Bear Market Anatomy SEG-4: Ice Cream Lists & On-boarding Back into the Market Hosted by RIA Advisors' Chief Investment Strategist Lance Roberts, CIO -------- Watch today's show on our YouTube channel: https://www.youtube.com/watch?v=j5pM2l9xhSo&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1 -------- Our Latest "Three Minutes on Markets & Money: Where Will Markets Go in April?" https://www.youtube.com/watch?v=QSsHJmmJhHM&list=PLVT8LcWPeAujOhIFDH3jRhuLDpscQaq16&index=1&t=2s -------- Our previous show, "Will the Fed Hike Rates Eight Times?" is here: https://www.youtube.com/watch?v=XDzMYWFn4kI&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1&t=2s -------- Articles mentioned in this podcast: https://realinvestmentadvice.com/bear-market-anatomy-revisiting-russell-napiers-work-annotated/ -------- Get more info & commentary: https://realinvestmentadvice.com/newsletter/ -------- SUBSCRIBE to The Real Investment Show here: http://www.youtube.com/c/TheRealInvestmentShow -------- Visit our Site: www.realinvestmentadvice.com Contact Us: 1-855-RIA-PLAN -------- Subscribe to RIA Pro: https://riapro.net/home -------- Connect with us on social: https://twitter.com/RealInvAdvice https://twitter.com/LanceRoberts https://www.facebook.com/RealInvestmentAdvice/ https://www.linkedin.com/in/realinvestmentadvice/ #BearMarket #FederalReserve #ElonMusk #Twitter #JobsAct #Markets #Money #Investing

(4/4/22) Elon Musk knows how to combat Twitter, scooping up a 9% stake in the company; April is a stronger month for markets, but could the Fed's activity make for a sloppy summer of trading? Jobs Act 4.0 & How Wall St. extracts capital by changing "accredited investor" definition. More Life with the Roberts, the worst thing you can do for kids; anatomy of a bear market. Best Ice Cream Flavors, on-boarding back into the markets, the problem of market timing vs risk management. SEG-1: June Bugs, Twitter & Elon Musk, Moving into April SEG-2: The Things We Do Over and Over SEG-3: Workouts, Party Dresses, & Bear Market Anatomy SEG-4: Ice Cream Lists & On-boarding Back into the Market Hosted by RIA Advisors' Chief Investment Strategist Lance Roberts, CIO -------- Watch today's show on our YouTube channel: https://www.youtube.com/watch?v=j5pM2l9xhSo&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1 -------- Our Latest "Three Minutes on Markets & Money: Where Will Markets Go in April?" https://www.youtube.com/watch?v=QSsHJmmJhHM&list=PLVT8LcWPeAujOhIFDH3jRhuLDpscQaq16&index=1&t=2s -------- Our previous show, "Will the Fed Hike Rates Eight Times?" is here: https://www.youtube.com/watch?v=XDzMYWFn4kI&list=PLVT8LcWPeAugpcGzM8hHyEP11lE87RYPe&index=1&t=2s -------- Articles mentioned in this podcast: https://realinvestmentadvice.com/bear-market-anatomy-revisiting-russell-napiers-work-annotated/ -------- Get more info & commentary: https://realinvestmentadvice.com/newsletter/ -------- SUBSCRIBE to The Real Investment Show here: http://www.youtube.com/c/TheRealInvestmentShow -------- Visit our Site: www.realinvestmentadvice.com Contact Us: 1-855-RIA-PLAN -------- Subscribe to RIA Pro: https://riapro.net/home -------- Connect with us on social: https://twitter.com/RealInvAdvice https://twitter.com/LanceRoberts https://www.facebook.com/RealInvestmentAdvice/ https://www.linkedin.com/in/realinvestmentadvice/ #BearMarket #FederalReserve #ElonMusk #Twitter #JobsAct #Markets #Money #Investing

This week Wes, EJ, Matt, Jeff, Jessie and Amanda debate the best family-friendly Halloween or scary movie of all time.

Right as the month of June is ready to end, it's the final episode of June Bugs! And it's an episode full of mystery. Dustin and Logan try a cocktail they've never had before (also called the June Bug) and watch a film neither of them know anything about, 1988's The Nest. It's a twisty, turny finale to another themed month! They also wrap up the whole month. The boys will be back soon with some more booze and movie fun!

Jerry O'Connell is back! This time, the star of Piranha 3D is tangling with singing cockroaches and New York landlords in the 1996 MTV Films flop, Joe's Apartment. Meanwhile, Logan and Dustin are drinking the Uptown IPA from Firetrucker Brewery and trying everything in their power to avoid talking about the previously mentioned film, including discussing their lawns.

Dustin and Logan are dipping into some classic cinema this week with 1954's Them! It's a black and white thriller full of post-WWII nuclear fears in the form of big f***ing ants. It's pretty fun. The fellas pair this celluloid relic with a classic cocktail: an old fashioned made from Four Roses Bourbon. This episode kinda goes all over the place, but in a good way! Logan and Dustin dip into some cinema history, the difference in horror films between different cultures, the origin of their friendship and a whole bunch of other stuff. Enjoy!

The boys are back for another round of bug-based blabbering! Logan are Dustin discuss Starship Troopers and have a really hard time deciding if the movie is really smart or really dumb. They dig into the satire within the film, the intentions of the book it's based on, and the effects that still very much hold up. And since they're intellectuals now, they pair this discussion with a wine; Camelot Mead from Oliver Winery & Vineyards. Logan also tells the story of why the show has two email addresses and how he almost screwed up the initial launch of the show.

On the 23rd Episode of the Cemetery Podcast, we visit Kentucky, Indiana, Pennsylvania, Illinois, Ohio, Michigan, New York, Virginia, Delaware, and New Jersey. We stop in Philadelphia, Lancaster, Pittsburgh, Dayton, Grand Rapids, Richmond, Alexandria, Louisville and Collinsville just to name a few. We inform you of the terror of the "Cemeturkey". We learn about a blooming Cemetery Symbol. We discuss an amazing Medal of Honor recipient. And we tell the tale of Necro Tourist Travelog: "East Coast History Adventure". Still there's more Thanks to Charlotte Graves, Senor Bull, Respect Our Cemeteries Ozric Tentacles --- Support this podcast: https://podcasters.spotify.com/pod/show/cemetery-podcast/support

Ralph and Dave talk the Westeros IDP rookie draft and Guillotine draft. They play a game, talk trades and analyze some rosters. Watch out for the June bugs! Risks of a garage party...

Dustin and Logan are kicking off another theme month! JUNE BUGS is all about insect-based cinema and the creepy-crawly research that comes along with it. In this first episode, the boys are watching the 1986 David Cronenberg film The Fly! They discuss what hasn't aged well and what is still very much effective in this Jeff Goldblum vehicle. They also sip on Rogue Ales' Honey Kolsch (it has a bee on the can) and dig into some research on everyone's favorite pest, the housefly. Be afraid. BE VERY AFRAID!!!

Tony Funderburk - Music Producer, Author, Singer Songwriter, Podcaster in Colorado Springs Did you ever watch The Waltons? Either when it was a new show or in reruns? Either way, do you remember how the kids would run out the front door and the screen door would smack shut? That’s because those … Read the rest... June bugs, watermelon – It’s nostalgia I’m tellin’

Your dose of Mike is ready, and it's another easily digestible chunk of podcast goodness. Topics for today are recapping preorders, the new Twiztid music video for "Envy", and a rundown of the Patreon streams from ICP for the month of June. It's Mike's birthday month, so obviously there'll be nothing to bitch about! Hit us up at JuggaloJudgment@gmail.com, @JuggaloJudgment on Twitter/Instagram, Juggalo Judgment on Facebook, or get at one of us directly on Twitter @MikeSpohnTheSEJ and @Schmeev, OR hit up Mike on Instagram @StraightEdgeJuggalo. We'd love to hear your feedback, let us know what you think!

You probably forgot that there was a Space Jam 2 in 1999, thanks to the memory-erasing feature at the end. Thanks to the internet, people now know to blink during that part. Joining me again Zach Arnold from the Intergalactic Peace Coalition Podcast. What did we think of the wacky crossover elements? How well does this work as a baseball/basketball/golf movie? What about Michael Jordan's acting in this one? And what's the deal with Berserk-O? Listen to our thoughts! Show Notes: 5:00 - Here's that Trust Your Doctor episode. Space Jam 2 talk is toward the end. 13:00 - June Bugs info on the Cartoon Network Wiki. 13:45 - Loonatics Unleashed follows the descendants of the Looney Tunes characters. Check out the wild premise on Wikipedia. 17:30 - When it comes to Scooby-Doo, lots of people love how Scooby-Doo on Zombie Island (1998) subverted the expectations of the monsters being fake. I also remember enjoying Shaggy & Scooby-Doo Get a Clue (2006-2008) because it was a change from the repetitive mystery-solving and more of a comedic spy show. But my favorite thing in the franchise is Scooby-Doo! Mystery Incorporated (2010-2013), which was more of a serialized ongoing mystery. 28:30 - I realized after the fact that I could've mentioned High School Musical, which I know Zach hates. 41:00 - Stan's product placement line in this Honest Trailer. 46:30 - Captain Impressive on the Superhero Wiki. 1:20:55 - #BeeBeeQWatch Here's that IPC announcement. Speaking of Duck Dodgers and The Iron Giant, check out this clip from the former parodying the end of the latter, featuring Robot-O. The original Space Jam website is still up somehow. No sign of websites for the others that have come out since then, though. @ZachTheVoice: Facebook | Instagram | Snapchat | Twitch | Twitter | Venmo IPC Podcast: Facebook | Podbean | Twitter Star Trek Culture: YouTube Steven Shinder Plugs: Book | Facebook | Instagram | Twitter | Website Email delayedreplaypodcast@gmail.com

To get live links to the music we play and resources we offer, visit This show includes the following songs: Hannah Glavor - Get It, Let It Go  Joy Chapman - Bartender Pour Me An Empty Glass  Kim Jay - Wind Whisperer   Imagesong feat. Alexis Cole - Every Time I Look At You  Trish Discord - Bluejeans  April Mae & The June Bugs - Hoodoo Moon  Marlena Anna - Not Ready For Love  Effy Lowan - Fall  Laurie Miller - Loser Magnet  TemplOhm - Piloting The Ship  For Music Biz Resources Visit and Visit our Sponsor Rock Your Next Release at   Visit our Sponsor Carlene Thissen at   Visit our Sponsor Lyndol Descant at Visit our Sponsor Bandzoogle at:

To get live links to the music we play and resources we offer, visit This show includes the following songs: Hannah Glavor - Get It, Let It Go  Joy Chapman - Bartender Pour Me An Empty Glass  Kim Jay - Wind Whisperer   Imagesong feat. Alexis Cole - Every Time I Look At You  Trish Discord - Bluejeans  April Mae & The June Bugs - Hoodoo Moon  Marlena Anna - Not Ready For Love  Effy Lowan - Fall  Laurie Miller - Loser Magnet  TemplOhm - Piloting The Ship  For Music Biz Resources Visit and Visit our Sponsor Rock Your Next Release at   Visit our Sponsor Carlene Thissen at   Visit our Sponsor Lyndol Descant at Visit our Sponsor Bandzoogle at:

**Happy Hour-ish - Episode 30** ​ ***Featuring Adult Stars, Joslyn Jane & Leah Winters*** ​ It's a new episode on EXXXOTICA.tv of "The Happy Hour-ish," and it's a great one! What would you say if the Internet sensation that is Bernie stopped by? Yep! Then you throw in two tall beauties from the adult world who discuss such burning topics as the legalization of weed and 'shrooms, being a MILF of the year finalist, sex in the workplace,* Grease 2*, how J's month of sobriety in 2020 may have started a pandemic, how pregnancy and basic training in boot camp don't mix, Gators vs. June Bugs, oh, and we end it all with "The Big F++K You!" There's also lots of sex talk. But who cares about that? It all boils down to a great hour-ish of tomfoolery and information that's vital to survival. Check us out!

LAWYERS: Everyone is a lawyer now, so on this fine Juneteenth lets break down the degrees of murder and manslaughter.METOO: From Chris D'elia, Joe Diaz to Ansel Elgort, METOO is back ya'll.World War III: China and India have a bad ass hand to hand battle in the Himalayas and Jim and Them have a hype train going on in the TWITCH. Shout outs to cmg120nukeYOU WILL NOT KILL PAUL!, DA 5 BLOODS!, JUNETEENTH!, JUNE BUGS!, BIG FLOYD!, FRANZ FERDINAND!, RIOTS!, LOOTING WORKS!, PAID HOLIDAY!, ARRESTED!, SUSPENDED!, CHARGED!, GUILTY!, VERDICT!, GET OFF!, NOT GUILTY!, FIRST DEGREE MURDER!, SECOND DEGREE!, MANSLAUGHTER!, MAN'S LAUGHTER!, WARRANT!, NO KNOCK WARRANT!, ENDS JUSTIFY THE MEANS!, BLACK OWNED BUSINESS!, MELANATED VOICES!, OPRAH!, UNCLE TOM!, CHILD MOLESTER!, WHITE PASSING!, TYRONE'S RIB CRIB!, VERSUS PRO WRESTLING!, INDIE WRESTLING!, SEXUAL HARASSMENT!, CLOWNING!, SUEDE THOMPSON!, MICHAEL HYDE!, UNDERAGE!, SCREENSHOTS!, MEETOO!, ALLEGATIONS!, LVL UP EXPO!, SPEAKING OUT!, WRESTLER'S COURT!, CHRIS D'ELIA!, LIKABILITY!, JOEY DIAZ!, JOE ROGAN!, POWER STRUCTURE!, STAGE TIME!, YOU SEASON 2!, WORKAHOLICS!, GOOMBAH!, DANIEL RADCLIFFE!, GROUPIE!, HARRY POTTER!, MUGGLE!, COMEDIANS!, ATTRACTIVE!, PETE DAVIDSON!, BILL BURR!, DANE COOK!, NATASHA LEGGERO!, ANSEL ELGORT!, WEST SIDE STORY!, STEPHEN SPIELBERG!, HOT GUY SUMMER!, FEMBOYS!, MGK!, MAX LANDIS!, BREAK YOU IN!, I'LL BE RUINED!, PEDOPHILIC SWINGSET!, COVID IS OVER!, NOVID!, CUBA GOODING JR!, TIMING!, INDIA CHINA CLASH!, BORDER DISPUTE!, HAND TO HAND!, WEAPONS!, BEATEN TO DEATH!, BRADY!, SUBSCRIBED!, TRUMP!, MEDIATE!, BOLO!, TONG PO!, KICKBOXER!, HYPE TRAIN!, BITS!, TWITCH!, ANSEL ELGORT IS OVER PARTY!, CELEBRATE!, CMG120NUKE!, RAID!, JUNGLE JUICE!, KETAMINE!, K-HOLE!, JOKE TRAIN TO HELL!You can find the videos from this episode at our Discord RIGHT HERE!

June BUGS! Episode 10 of Reel Romance focuses on movies with six-legged friends (or foes!) We discuss A Bug's Life, Mimic, Ant-Man, The Fly, and more! Bee prepared for a creepy good time! Follow this awesome couple at: Bamf: (Twitter) @bamfingbobBrittany: (Instagram) @booknerd528 Follow Reel Romance on: Twitter: https://twitter.com/ReelRomanceUCPNFacebook: https://www.facebook.com/ReelRomanceInstagram: https://www.instagram.com/reelromance Network: Facebook: http://www.facebook.com/undercovercapes1/Twitter: @UndercoverCapesInstagram: https://www.instagram.com/undercovercapes    

I Wanna Be Your Wife's Guard performed by Boogie Knights from the album Many A Sleepless Knight https://sites.google.com/site/boogieknightsmd/ Tow Rope Girls performed by Bounding Main from the album Fish Out of Water http://www.boundingmain.com Lusty Young Smith performed by Brobdignagian Bards from the album A Faire To Remember https://www.thebards.net The Cuckoo(Bawdy) performed by Capt'n Black's Sea Dogs from the album Tales of the Black Dog https://www.facebook.com/pg/seadogsmusic/ No Balls At All performed by Capt'n Tor and the Naer do Well Cads Pirate Invasion from the album Fanny http://www.pirateparties.ca Friends With Benefits performed by Ceann from the album Making Friends https://www.reverbnation.com/ceann HOW TO LISTEN Apple (podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024) Spotify www.spotify.com/artist/0UcBe1IGWeIQ4y22y3bWgi Pandora www.pandora.com Podbay www.podbay.fm/show/74073024 HOW TO CONTACT US Post it on Facebook (https://www.facebook.com/renfestmusic) Email us at renfestpodcast@gmail.com Call or text the castle at 478- castles (227-8537)

This week I'm thinking about June Bugs... Part of the summer re-run THursdayTHought series; originally published May 19, 2011.

Welcome to another edition of The Ninja Please Podcast. This is our season 2 finale and we couldn’t be more excited to deliver a fun, exciting, and informative show for you.  Due to cover Many of our podcasts this season have been studio/remote call in’s but today we are all in the studio ready to pod, thank you for tuning in.  (intro)  Not just the Nation but it seems like the world was rocked after a price officer killed unarmed African American, Greg Floyd. This sparked protests, riots, and 1 week later The Tweets is Watching. Its only right that the ninja crew gives an honest yet hilarious 2 cents about the dumb things people seem to say when they could just keep silent. Later, Starman gives a lengthy extended Wu Tang style into and the crew follows suit. We start things off with a quick rundown of the week. Thanks to HBO Max, Yuki aka Starman, has been running through Miyazaki Movies constantly, in this segment he gives a short review of his favorites so far.  (00:19:52) The Dallas Police Department has recently lauded and later took down apps that encouraged citizens to snitch. Thanks to heroic efforts by the K pop Community, The apps were defeated after hackers managed to stream K pop Videos and content constantly, almost exclusively through the app. Celes, out K pop princess and expert insider, gives us the full rundown.  We also discuss the limited release of movies in June and July. and we review the 2013 Film Snowpiercer Starring Chris Evans & Ed Harris Directed by Bong Joon-ho. We cap this segment off discussing June Bugs!  (00:49:16) The Ninjas Discuss some Tales From The Cons.  (01:05:48) Blaze Calls into the show to discuss How life is working in Downtown Atlanta amid the protest and we also take the time to discuss video games and some anime selections.  Original Music By Starman Ninja Please Theme - Starman.  2020 Star Superior, LLC  on social media @Ninjapleasepod Black is selling Ninjaplease march on his page @ Tee Public , feel free to check it out https://www.teepublic.com/user/thecaveofcomics Find him on Twitter @Thecaveofcomics2.0 #Ninjapleasepodcast #covid19 #Coronapod #Anime #Hulu #Crunchyroll #Funimation  #Nintendo #Sony #PS5 #Marvel #DC #DIsney #syfy #Cartoonnetwork #CN #Adultswim #usa #trending #memes #life #style #Ninjapleasepodcast #Amazonprimevideo #Hulu #Funimation #Crunchyroll #Hidive #Manga #Anime #BLERD #PS4 #Xbox #WB #HBOMAX #WUTANGCLAN #wutang #36chambers #Blacklivesmatter #Kpop 

The June Bugs are out and ready to take flight. We're the June Bugs in the scenario. Rookies. Vets. Talk. Talk. Talk. We've got it all! Alright, let's do this. Follow us: @TheOpenBarPod @JMicCheck @FFManBun @CharlesChillFFB @DynastyChillPod @ChaseTheHelmet @OffTheRailsDyno @NFLDraftTalker @Rotobahn @NFL_Zack Store: http://theopenbar.storenvy.com

As Kansas slowly reopens, The Scruffy Household battles 8 legged creepy crawlies, June Bugs, and clutter...when not walking all of Azeroth in Classic. Look at the new Assassin's Creed title, landscaping companies in Animal Crossing, and news from The Boys in the Geek Report. Over in Blizzard Bites, the tanks are killing it and the kids get some pretty amazing adventures both in game and during work from home orders. Plus Orcs have caused quite the stir this week in Campaigns and Cantrips. All this and more in episode 65 of Loot Optional!

Jackson Bliss is an assistant professor of creative writing at BGSU. His genre-bending fiction focuses on being mixed-race in a global world. This episode features a conversation about exploring identity through writing and a reading from his forthcoming novel, The Amnesia of June Bugs.   Transcript: Intro: This podcast features instances of explicit language. If you are listening with children, you may want to save this conversation for later. Intro: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Musical Intro: I'm going to show you this. It's a wonderful experiment. Jolie Sheffer: Welcome to the Big Ideas Podcast, brought to you by the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Dr. Jolie Sheffer, associate professor of English and American culture studies and the director of ICS. Jolie Sheffer: Today I'm joined by Dr. Jackson Kanahashi Bliss. Bliss is an assistant professor in the creative writing program here at BGSU. He's published in The New York Times, The Boston Review, Ploughshares, Tin House, and many other publications. He earned his MFA from the University of Notre Dame and his PhD in literature and creative writing from the University of Southern California. Today we have the pleasure of hearing him read from his new work, Amnesia of Junebugs. Thanks for joining me today, Jackson. Jackson  Bliss: Happy to be here. Jolie Sheffer: You are both a creative writer and a literary scholar. How do you think of your creative writing as being shaped by scholarship on Asian American literature? Are there other ways in which you see your work as interdisciplinary? Jackson  Bliss: Yeah, it's a funny marriage, actually, and I think it's an accidental one, because, in the beginning, I wrote most experimentally, and then when I started studying Asian American studies, I realized there was a sort of strong bent towards experimentalism and activism and how it connects to ethnic nationalism, ethnic studies, academic studies, and academic centers and universities. So this was completely accidental. I didn't intentionally sort of imitate the preferred genre of activist-minded APIA literature. It just sort of happened that way. But the more I studied Asian American studies, particularly works like Immigrant Acts by Lisa ... What's her last name? Jolie Sheffer: Lowe. Jackson  Bliss: Lisa Lowe. Yeah. It sort of made me realize there's a strong sort of push against the stylistics of the empire, which tends to be connected to linear narratives and coming-of-age stories. That made me want to write that story, particularly because I found it a little bit both historically informed, but also generically arbitrary that a particular sub-genre of fiction would supposedly work so well, right, in something that we are actively trying to deconstruct. Jackson  Bliss: I feel like writers like Viet Thanh Nguyen are perfect examples of people who said, "No, you can have a narrative arc and do a lot of important work instead of deconstructing standardized, sort of imposed European models of narrative." Jackson  Bliss: So I think all of those things appealed to me a lot. So it became much more conscious the more I wrote fiction, I think. Yeah. But in the beginning, it was totally accidental and organic. Jolie Sheffer: Your peace Dukkha, My Love is an experimental hypertext novella, created for the web. Can you describe our audience, what that term means? What is an electronic novella, and what can people expect when encountering a text like that? What were you hoping to explore, both formally and thematically? Jackson  Bliss: I think part of it is that there is a very tiny archive of electronic writing, just in general. If you go to the standard places that catalog experimental writing, for example, they're really small. They're highly limited. A lot of writers that write experimentally or create online hypertext don't even publish through them. They just publish on their website. So it's highly decentralized in a way that can be really frustrating for, for example, scholars in new media, because there is no clearinghouse for someone to find all the works. Jackson  Bliss: I think the thing that new readers of hypertext, which is online experimental writing, have to sort of keep in mind is a lot of it is about the ability to create your own narrative, sort of on your own terms. This is sort of the burden, but the beauty of reading. In Dukkha, My Love, essentially, readers click on hypertext, not knowing where it takes them. So they have control, but they're doing it blindly, right? So there's a lot of that going on. It's highly immersive, but it's also indeterminate in terms of where your freedom and control as a reader will take you. Jackson  Bliss: Eventually, as readers start reading more and more, they sort of participate in the cyclicity of the three intersecting narratives, which is absolutely part of the point of reading it, which is the ways in which there is a historical cycle that would repeat, the ways in which we repeat sort of certain cultural modalities of xenophobia and fear against the other, the ways in which our own understanding of reality sort of goes in these continuous cycles of knowledge and awareness and denial, and the proof of this as well is on the first page, when readers click on one of the destinations, where you can basically pick where you want the story to go. It'll even say, "My life is a circle," right, sort of reinscribing this idea in the reader that they are participating in it, but they are not necessarily aware of where they're going, which I think is kind of a fitting cultural analogy of sort of our own conceptualization of history, right? So we sort of have an idea of where it's going, but we're sort of blind as to where exactly it lands. Jackson  Bliss: So yeah, it took me about probably four years of doing research and writing the excerpts and about four months of teaching myself how to code enough to learn how to strip audio files off of YouTube videos and then basically take my own music and sort of record it and then time it and cut it in such a way where it worked with the videos, which I basically ripped off from the Learning Channel and someone else. God bless all of you. Thank you for your fine work. Jackson  Bliss: Yeah. But I was learning as I was creating. That particular genre was something I had never done before, and that's why I wanted to contribute to the discourse, because I felt like it's pretty emaciated, in terms of a genre, right, but also highly accessible. Those two things really appealed to me. Jolie Sheffer: That project in particular, you set yourself a set of hurdles that were challenges you had to then work within, right? So you make something that is, by nature, through coding, deeply linear and kind of limit certain pathways. It is not an endlessly, right? You have to create a set of possibilities, which means foreclosing others, and yet your work itself and the things that interest you are all about the chaotic, the unpredictable, the messy. So how did you kind of respond to the challenge that you set for yourself? Did you feel like you'd handcuffed yourself, or was it liberating, in some sense, to have to work within these limitations? Jackson  Bliss: To be honest, I thought the limitations were there to keep me sane, because I think I would have lost my (beep) mind if I had literally created a work of infinity, because, originally, the idea was I was going to create [inaudible 00:06:50] Book of Sand, right? You could almost make that argument, but if you read Dukkha, My Love enough, you will eventually hit the same narrative strand. So you do sort of touch on finitude at some point. It's impossible to avoid that textual finitude. Jackson  Bliss: But the constraints ended up being lifesavers for me, because this project otherwise could have gone on forever. Let me give you an example. When I was trying to keep track of all the three separate narrative strands and then create a separate stub for each one on my website, this required a level of organization that, frankly, I don't like to have in my art. That goes against my entire ethos as a multimodal, mixed-race, experimentalist-leaning, voice-driven, stylized writer. Yet here we were, where I basically had to control my choices, one, so that I could finish this product before the next semester started and, two, to sort of create a bottleneck, I guess, a narrative bottleneck, where, at some point, everything does have to go through certain sort of narrative choices. Jackson  Bliss: That's both because of the limitation in my coding skills, frankly, but also because there are certain sort of narrative strands I want readers to go through, and I don't want them to necessarily be negotiable. So, for that reason, the index page is, in and of itself, a sort of delimitation of the narrative choices, right? Readers only have basically 10 to 15 places to choose, and then they only have 4 to 10 actionable links on that page. So it sort of starts and ends with finitude. Jackson  Bliss: There is, believe it or not, those of you that have read this, a goodbye page, an acknowledgement page, but, as it turns out, it's incredibly (beep) difficult to find. I mean, I can't even find it, and there's other details that I put that I think were just a little too [inaudible 00:08:41] for themselves. There was an asterisk next to certain narrative strands, letting readers know, "Hey, this is it. This is about to take you to the final page," and I hope that readers would note that this was connected to the theme of the star colonies. That's why the asterisk's there. But you have to scroll down, and if you don't scroll down, you don't see it, and then it doesn't take you to the final page. Jackson  Bliss: But I'm not upset about this. I don't hate myself. I have accepted that there are limitations to reading, and you really can't predict, unless you're into analytics, what your readers are going to do. To me, that's the beauty of it, is that it gives readers, essentially, some blind power to decide how the story is told, which, frankly, isn't done very often in speculative fiction. So that's why it appealed to me. Jolie Sheffer: Much of your work deals with being hapa, or mixed race. How do you see your identity playing a role in your creative work, or, conversely, how has your fiction played a role in your understanding of your own identity? Jackson  Bliss: It's interesting you ask me that, because, in the beginning, when I look back to my earliest fiction, all my characters were white, and this is for a couple of reasons. One, because, at that point, I was definitely passing as white. Two, it's just simply easier for me and my mom, who's hapa as well, my brother, who's also hapa, to just not push the mixed-race button. I was born in Northern Michigan. I didn't live in a community where we celebrated, right, sort of any sort of multicultural, multiracial identity. Jackson  Bliss: There was a lot of survival going on. I mean, even my obachan would not speak to me in Japanese unless I begged her. This was partially because she had a sort of assimilationist paradigm, when it came to living in America. So she thought she was helping me by just making me only speak English. Jackson  Bliss: So, ironically, as I got older and started realizing I have two very different racial and cultural modalities, I mean, I'm literally the son of Japanese immigrants on my mom's side, and that's how close that side of the genealogy is. It's insane I'm never writing about that. It's bizarre that I don't talk about that. I think part of it's because I didn't know how to. There's a lot of things I love about growing up in the Midwest, but it's culturally not the most progressive place to examine your racial hybridity, and I think if I had grown up in SF or New York City, a place where there are strong multicultural identities as the centering of the urban ethos, I probably would have found myself a lot earlier. So it took me a long time. Jackson  Bliss: So I realized at one point that my racial hybridity, in a lot of ways, sort of mimicked my generic hybridity, right, where I like to write in a lot of different genres. I sort of pick and choose. I don't feel like I should be pigeonholed. I sort of embrace this idea that I can almost pick the concept of the neutral, in terms of what it means and [inaudible 00:11:35]'s notion of you don't have to pick one side or other. You can choose to not pick between two options, especially when they're highly binary and deeply delimiting, existentially. Jackson  Bliss: So these things sort of coincided. My desire to sort of subvert genre conventions and just find whatever's the right genre and voice for me coincided with my realization that I had a lot I wanted to understand and investigate about my own mixed-race identity, as someone who's French, British, and Japanese. So it's really my PhD years where I really started fully embracing this and really interrogating it. Jolie Sheffer: What kinds of research do you do for your creative work? You alluded to some of that. What scholars or authors have shaped your work and worldview? Jackson  Bliss: The first people to influence my voice, Junot Diaz and then JD Salinger, and the third one is Zadie Smith. These three writers really informed my whole conception of voice and textual and racial hybridity. So the thing I liked about JD Salinger as a teenage boy was the authenticity of someone questioning authenticity, right? That sort of self blindness, I found really compelling, right? Jolie Sheffer: All his talk of phoneys, right? Jackson  Bliss: Yeah, phoneys. Right. Jolie Sheffer: Yeah. Jackson  Bliss: In many ways, he's [Salinger] the phoniest of all. But, on the other hand, there's a tender side to him that often gets ignored, where he's deeply concerned about preventing trauma to people, because he himself appears to be traumatized, in a way that Holden Caulfield was incapable of sort of working out. So that was powerful to me, and the stylization of the voice was really powerful. Jackson  Bliss: But then when I read White Teeth by Zadie Smith and then Drown by Junot Diaz, I suddenly realized that there was space for my voice, this sort of multicultural urban realism combining with almost sort of Creole sort of language, patois, right, in English. I didn't know that you could do that. I didn't know we were allowed to put the language of our other identity into English. It sounds really crazy when I hear it, but yeah, it was sort of a revelation to me that we could have a stylized voice that sort of embraced and sort of interrogated and was a product of a multicultural identity. Jackson  Bliss: With White Teeth, I think I was just so invested in the ways in which she sort of did these portraitures of different racial and historical and cultural communities and gave each of them a sort of majesty and humanity and an interrogation that I found really amazing and actually rare and then combine it with a sort of these moments of maximization, where the language just explodes off the page, right? Jackson  Bliss: I realized these writers were doing a lot of important work that I myself wanted to do, that I needed to understand better and also, at the same time, that they were giving me permission to sort of figure out my own narrative modality, my own stylized voice, because it's easy to feel like you have to basically come off as neutral, which is code for sounding white. A lot of writers of color I'm friends with feel the same way. They feel this invisible constraint all the time to write in a way where Ivy League-educated, East Coast white readers will understand and connect with. Jackson  Bliss: The problem is there's things that that demographic cannot connect with, and if we write for this imagined, embodied, universal voice, we can give up a lot of the most vital parts of our own sort of unique lyricism and our own techniques for storytelling. So that was a huge revelation for me. Jolie Sheffer: You recently published an essay in TriQuarterly called The Cult of Likability, or Why You Should Kill Your Literary Friendships. In it, you talk about how readers frequently criticize characters for their likeability, or lack thereof. Do you see this as a racialized or gendered criticism, and what qualities do you think are important to make characters compelling? Jackson  Bliss: I do think it's heavily racialized, and I think it's heavily gendered. I think it works in a really sort of sinister, unconscious way for a lot of people. There's still this notion of universal literary merit. When something's amazing, it has this broad appeal. But universality in literature, at least in the 21st century, is mostly code for literature that appeals to a massive white readership. What I've noticed in my workshops, but also in a lot of book reviews, is that works that are written with characters of color or by authors of color or both, especially when they're women, are much more heavily criticized than when they are, for example, white narrators or white female narrators, right? Jolie Sheffer: Yeah. You don't hear people complaining that Humbert Humbert wasn't likable enough in Lolita. Jackson  Bliss: Right. Exactly. Yeah. Jolie Sheffer: That's not the criticism, or that Rabbit Angstrom isn't likable. Jackson  Bliss: Right. That's right. So one of the arguments I made in this essay is, first of all, some of the most important works that I think have shaped, in a positive way, a sort of expanding sort of foundational text canon in America comes from books that weren't necessarily fun to read, with characters who we didn't necessarily like at all, who are important. I mean, Native Son has Bigger Thomas, I think his name is, and that's a crucial character, right? To say, "I don't like this, because I didn't get him" or "I didn't like him" or "He didn't appeal to me" is so essentially irrelevant to the importance, both culturally and historically and racially, that that voice sort of incarnates. Jackson  Bliss: I'm noticing a tendency now where liter agents and now MFA students and a lot of readers are using love and infatuation as this sort of literary metric for determining the value of something. "I didn't love it. I didn't love the voice. I didn't love the character," as if we are now given permission to not consider the literary value of the work, the importance of the marginalized voice, for example, because we realize we don't like the character. Jackson  Bliss: I think it's connected, partially, to cancel culture. But I also think it's partially connected to reality TV, because, with reality television, when we saw a character we didn't like, we would vote them off. So, essentially, likability had consequences, right? Jackson  Bliss: What I think is happening now is people are reading texts that decenter them or ask them to do work or research. Suddenly, they will just decide, "I don't like this character," and that's the end of it. Jolie Sheffer: It also seems to me, though, related to what you were talking about before, which is that if you don't recognize, if you're encountering a new voice, a new perspective, that is not one that you have been taught to recognize because of literature and because of established kind of genres of reading, that first impulse might be, "I don't like this person," and it takes time to actually get used to new voices. Jackson  Bliss: That's right. Yeah, and I think that sort of discomfort maybe at being de-centered is a completely understandable, very normal one. Everyone feels that way. The problem is communities of color and marginalized communities have felt this their entire lives. They go into any room, they go into any white space, and they are always de-centered, all the time. I think this is something that, in general, white readers are a lot less capable and patient and willing to deal with, in part because they've never had to, right? Jackson  Bliss: So for this to happen in the sort of sacred American pastime of reading I think rubs people the wrong way, but I feel there is a silver lining, which is these readers can sit in that lack of comfort and know, at the end of the day, that it's going to be okay and that they will work it out and they will start to slowly understand these characters and potentially empathize with them. But that takes time, and if we don't learn to learn about people and sort of enter into their space, we will never get there. Jackson  Bliss: That's actually one of the arguments I make in this essay, which is not only would we erase some of the greatest literature written by writers of color if we decide we don't like the characters, but, more importantly, we lose our critical thinking skills and our empathetic ones, because this requires us to learn from the other, whoever the other is for us. Jackson  Bliss: I think that's my issue with likability, is it's become this eroticized literary metric, as if infatuation is actually a legitimate metric to analyze the literary value of a work. Frankly, I don't give a (beep) whether someone loves a book of mine or not. What I care about is if they can enter into it, if they can learn from it, if they can go someplace new, from the end of the book to when they started. To me, that's, in some ways, almost more important. Jackson  Bliss: Whether I'm friends with a character, whether we're besties or not is ... I could give two (beep) about that. But it's becoming a sort of standard comment to make in workshop, and I do my best to sort of interrogate that a little bit. But I feel like we have now reached a point in our culture where not liking something, in our eyes, gives us permission to essentially dismiss it. Jolie Sheffer: We're going to take a quick break. Thanks for listening to the Big Ideas Podcast. Intro: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Hello, and welcome back to the Big Ideas Podcast. Today I'm talking to Dr. Jackson Bliss about fiction, form, and mixed-race identity. You prepared a reading for us called The Amnesia of Junebugs. Can you tell us a bit about the piece you're going to read and where it fits into the work as a whole? Jackson  Bliss: Sure. So this is a tiny excerpt from one of four principal characters. This character's name is Winnie Yu, and he's essentially a culture jammer. So he creates political graffiti, and/or he takes ads from companies and essentially turns the ads against themselves by adding different color, texture to essentially make the ad self-indict itself. It's a very sort of critical novel, as a whole, on capitalism and sort of begs for the role that public art plays in a sort of taking back of streets that are essentially corporatized, in a lot of ways. Jackson  Bliss: So this tiny part here is just a tiny sort of backstory of Winnie describing the first time he realized he did not live in Asia, but that he actually lived in New York City, a tiny secret he didn't realize at the time because he had never taken a train to another borough. So that's sort of like the context for this work. Jackson  Bliss: Winnie had lived off of the Bowery his whole life. Didn't even know that New York was in America until he was six. His parents spoke Cantonese, Taiwanese. Everyone in his fam did. The market signs on Grand Street, where his mom bought her groceries, were written in simplified Chinese characters. His neighbors watched Cantonese soap operas in the afternoon. Old men hung out at Mr. Chang's corner store at night, playing dominoes and drinking ginseng tea and Viper Whiskey, cracking jokes in Wu. His super was Fujian, the cheapest mother (beep) he'd ever seen, who tried to fix everything with duct tape, tinfoil, and DAP. Jackson  Bliss: For the longest time, Winnie believed he lived in Asia. He thought white people were the tourists. But in one day, Mama changed the rules of his storytelling. By taking the subway together for the first time to Brooklyn, she thought it would be cool for them to go over the Manhattan Bridge, and it kind of was. He'd never ridden over a bridge before, didn't understand that New York City had islands or that they were connected together by bridges, the vertebrae of the urban body. It took him a long time to see that subway lines are veins; the major subways, arteries; the streets, capillaries. Jackson  Bliss: Until that fateful and transformative day, Winnie didn't know he lived in a fractal world, in a city of billboards, insects, damaged vascular systems and wandering spirits. He didn't know that New York is an ethnographic sponge, silently absorbing the screenplay of immigration. He didn't know that New York is a megapolis, its streets, highways, and bridges resembling the human nervous system. NYC is an urban hive imploding with refugee stories, diasporic longing, bustling multiculturalism, and inherited fortune, a collapsing urban space where culture dances between neighborhoods and history intersects ethnicity, creating abstract forms that interact, but don't touch each other, like a kaleidoscope. Jackson  Bliss: Until that day, Winnie thought New York was only ten blocks, from Mr. Chang's bodega all the way to Good Times Dry Cleaners. He thought New York was the unofficial capital of Taiwan, a nation and an island and a freaky global village. He was half right, actually. Jackson  Bliss: The straight (beep) is that the day they took the train over the Manhattan Bridge, Mama was showing him the way to St. Ursula's School, were Asian, Latino, and black kids wore unforgiving white polo shirts with stiff colors that dug into their necks like plow yokes and old man pants with creases running down their legs like highway meetings that resisted wrinkles and clumps and refused to be rolled up at the ankles at a school were Asian, Latino, and black girls were forced to wear skimpy plaid skirts, even in the spring, where poor students of color pretended they were rich, rich white students pretended they were gangsta, and all the teachers spoke Midtown English. It was an academy of impersonations and a theater of the restless mind. Jackson  Bliss: The day Mama enrolled Winnie in Catholic school and filled out the paperwork for a St. Martin de Porres Scholarship for Immigrant Students, a detail and a reference he wouldn't even understand until he was in high school, when he realized his mom had accidentally taken away his fixed identity and shoved him into a chrysalis of his own making. As they passed over the Manhattan Bridge again, he didn't understand how the whole world he'd seen that day could all be one city, didn't understand why all the Asian people disappeared, or so it seemed, why no one spoke his family's languages anymore. Jackson  Bliss: Even now, as a 30 something, he still couldn't figure out how his parents had managed to sequester him from the class struggle, the racial conflict, and the spatial tension of inner-city life for as long as they did. What he did know is that after Mama had enrolled him for classes, smoothed his hair back for a school ID, bribed him with feng li su cakes from a Taiwanese Baker he'd never seen before to celebrate his enrollment, and then led his (beep) back to their apartment, pineapple paste caramelized in his teeth, Winnie realized that he didn't know (beep) about his American life anymore, except he wasn't living in Asia, and he certainly wasn't Catholic. Jackson  Bliss: As far as birthdays went, turning six (beep) sucked, the worst thing to happen to him, at least until explosive acne in 10th grade, at least until his Ba peaced out of his life for good too soon. Jolie Sheffer: You really set the scene of this world within a world, where a child could grow up in New York's Chinatown without realizing they were even in the US. You've lived in the Midwest, on the West Coast, in Japan, Argentina, and Burkina Faso. How do you approach the idea of setting a sense of place, in this story in particular and generally in your work? Jackson  Bliss: One thing is that I think places are characters. I have felt this way pretty much ever since, I think, I watched my first Bertolucci film. It's something I learned very early on, and I feel, as a writer who considers himself to be a sort of stylized urban maximalist, it's impossible for me to define or construct characters without understanding the sort of cultural context in which they grew up and evolve, because that's true for me, and that tends to be true for them. So, for me, setting and place are interconnected with voice and identity. Jolie Sheffer: What kind of research did you do for that piece? Jackson  Bliss: Mostly just walked around Chinatown a million times. I wrote a lot of this novel when I had an editorial internship at Hachette Books in New York City. I also visited in the fall of 2006. So I spent a lot of time just walking around New York City, taking the subway, looking for sort of famous graffiti that people were talking about. I spent a lot of time eating vegan dim sum in Chinatown. I feel like sometimes the best way to do research for cities is simply live in the city and see how it breathes. So a lot of it, yeah, was simply walking around, observing, taking notes, talking to my New York friends, asking them questions, asking my Chinese American friends questions. But most of it was just walking, breathing, living, eating in those places. Jolie Sheffer: Your characters always have very distinctive voices. You were just talking about character, but in the characters in your stories, how do you think about approaching developing their particular patterns of speech? Jackson  Bliss: I feel like, a lot of times, the verbal tics, they take time, because who I think a character is in the beginning when I write them is almost never who they are at the end, and then it's sort of up to me to go back and sort of reconcile the voice, so to speak, because there's this implicit rule in fiction where a character's voice has to actually be more consistent than people's voices in real life, right? Because in real life, we, for example, especially people I know who work in different sort of social, professional, racial, and cultural spheres, they code switch all the time, and this can seem inauthentic to people, but it's very normal. But in fiction, you actually have to have a more sort of reconciled voice that readers won't see as too contradictory. Otherwise, they won't think it's the same person. Jackson  Bliss: So this is one of those sort of secret constraints that most fiction writers I know struggle with. How do I keep a voice? How do I construct it, and then how do I maintain it? So I think a lot of times, I will read my dialogue out loud, and I'll just basically understand the character through their orality first, right? How do they sound? How do they feel? Jackson  Bliss: Then, I think, from there, I make modifications, especially when these characters make important sort of plot decisions that might alter their voice or their modulation in some way. For example, I once wrote a character, and then I realized halfway through, "Oh, this character isn't going to be Portuguese-Japanese. They're going to be" ... I don't know. I don't know what I decided, French-Japanese or something, and that changed some of the vocabulary, right? That changed some of the sort of place names and cultural references. Jackson  Bliss: I have another novella that's actually interconnected with this novel, and, for the longest time, it was written from a Senegalese American point of view, because I had spent a decent amount of time in West Africa. Then I realized I was interested to see what would happen if I changed the character and made him mixed-race and made him Japanese Senegalese American. I did that, and it suddenly transformed his voice. There were certain beats that didn't work anymore, right? There's certain slang that doesn't make sense anymore, and there are other things that had to sort of have a presence. Otherwise, it was just a whitewashed mixed-race character. Jackson  Bliss: I think that's the general process, but it always begins and, I think, ends with me simply speaking, because I need to literally hear the voice to understand it on the page. Jolie Sheffer: Lots of creative writers read their work in public, right? That is a kind of professional part of the job. You have a very particular kind of performative approach. How do you think about preparing what you're going to read, how you read, and how do you think that shapes your readers' or listeners' perception of the work? Jackson  Bliss: Yeah, I'll confess right now I'm a speech and debate geek, so in high school and even college, I was a debater, and I was one of those extemporaneous speakers. So I have a long history of sort of seeing the value that public speaking makes. Jackson  Bliss: But I also think that most of my important characters, the ones I'm really invested in emotionally, almost always have some level of identification with their language. So that's where the voice will end up being so sort of important and sort of fleshed out, and I've noticed in the past couple of years that when I give readings, I tend to read either the character or passages from a longer work that allows me to sort of take a very performative, language-driven sort of role in my reading. Jackson  Bliss: For that reason, if I've written a really difficult extemporaneous-feeling work that's actually highly edited and revised, that is really prolix, I guess, and heavily language-driven, I may not read it, especially if, for example, I can't find space to breathe. I have certain work that was pretty much meant to be read, even though I didn't realize it. Jackson  Bliss: So, for me, I think a lot about reading as performance, I think a lot about performance as text, and I think one of my big complaints with a lot of readings I go to is they tend to fall in a couple camps, which is, one, either they just read in this really monotone voice and they have this kind of arrogant idea that work should speak for itself. But the problem with that is what if you suck? What if you're awful? What if everyone's falling asleep? In that case, shouldn't they just stay home and read the book? Why did they waste their time to go out to this reading, where you became the greatest American sleep aid? But on the flip side, I've also seen people who sort of take it really far, and they act like they're basically unpaid beatniks. Jackson  Bliss: So I feel like every writer who ends up becoming a sort of social public figure on some level, which is inevitable once you start publishing, they have to negotiate the sort of reading ethos. For me, it's always been really important. I want readers and listeners to hear the rhythm, because musicality informs a lot of my writing, and that's from my music days. But I also want them to be transported, on some level, by my reading. I want them to feel the language and the cadence and the emotion. Jackson  Bliss: I used to get shamed when I was younger for my performances. People would be like, "Yeah, that was really something." Then you would go to their reading, and half the people were on their iPhones, fiddling away. So, for me, I see my readings as a performance, and I think that to ignore the audience is to be incredibly deceitful and to be delusional. You aren't reading to yourself. You're not reading to your partner. You're not reading to your little Shitzu. You're reading to people, and their experience should be something you think about, because that process is dialectical. It's not just about you, and it's not just about them, but there's an interplay that I honor and that I love. Jackson  Bliss: So yeah, I think a lot about how to read, when to read, and I always practice my readings because of that. Jolie Sheffer: Thank you so much, Jackson, for joining me today and sharing your work. Jackson  Bliss: Oh, it was my pleasure. Jolie Sheffer: You can find Dukkha, My Love and more of Jackson's work at his website, jacksonbliss.com. Jolie Sheffer: Our producers for this podcast are Chris Cavera and Marco Mendoza, with sound engineering by Jackson Williams. Research assistance for this podcast was provided by ICS intern Taylor Stagner, with editing by Stevie Scheurich. This conversation was recorded in the Stanton Audio Recording Studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

(Unedited but full of complications) Corona Virus, shaving a beard, Chris talks into the void, (dropped call), Brock with a CB radio, bumper stickers, pranks, Willow Smith, Rudy (movie), kids sports, Adam Sandler, Shaq, Kevin Heart, What the Fit, Ryan Reynolds & Hugh Jackman feud, Guy Fieri (Ramsay), May flies & June Bugs, leap year, daylight savings time, smoking bans, and more!

The Nats are heating up in June. Will it be enough to get them back in the NL East race? Plus, Dan Kolko gets "Caught In A Pickle," and social media managers Olivia and Hannah debut "Like, Retweet, Block."

A show about guns.

The weird and wacky names that aircraft have don't usually include those of insects, particularly parasitic ones but there is no accounting for taste!  From Gnats to Fleas, June Bugs to Crickets, aviation has them all and in this tale we find out about many of them.                 Images under Creative Commons licence with thanks to Nick-D, H M Benner, the Royal Navy, Afcrna and the USAF.

Drive-in concession stand food server and bugs. Camp Counsellor, bugs and smokes. You gotta hear it! And we fess up to some earlier mistakes. Our listeners are so smart!

Welcome one and all to this week's extra-special episode of When Nerds Collide! This time around Dan shows what a jerk he is by giving Tom three choices and then shutting down two of them, and then cutting that story and putting it at the end of the show. The guys talk about their experiences at Tidewater Comic-Con, including Dan's conversation with Gates McFadden about dairy products and not knowing who Greg Cipes is! Dan got Tom a present! Dan relates how he is exposing his oldest son to some nerd film classics, and then he reads friend of the show Jim's latest encounter with a pornbot! The guys' main topic this week is how some of comic's biggest creators have had feuds, beefs and confrontations with publishers and other creators! Tom brings the quiz magic with a June Bugs quiz, all about that wascally wabbit! Hey how about a nice rate and review on Itunes? We'll be your best friend! Thanks to Kirby Krackle! Nerd to your Mother! The post #244 – Gross stuff, Pornbots, and Creator Feuds! appeared first on When Nerds Collide.

They're creepy, they're crawly, they're pesky by golly! It's June...so we're talking June Bugs on this episode of Attack of the Killer Podcast!FOLLOW YOUR HOSTS!Insane Mike Saunders: Facebook | Twitter | WebsiteJason Bolinger: Facebook | Twitter | WebsiteDustin Neill: Facebook | Twitter | WebsiteTeri Terford: Facebook | Twitter | WebsiteJohn Stalter: Facebook | TwitterBryan Clark: Facebook | WebsiteDOWNLOAD

April Mae is bringing back the victory rolls!  Singer/songwriter/musician/entrepreneur, Mae has released 7 critcally acclaimed albums, performed with music legends, and converted a 1998 Ford diesel engine school bus into a mean green veggie oil fuel burnin' machine that she and her American Roots Music trio - April Mae and the June Bugs use to tour the US. http://www.AprilMaeAndTheJuneBugs.com

Hey! It’s another episode of the JErsey Jamcast with a big variety of styles of music on this episode – so give a listen! Here are all the bands played: The Jean Jackets The Defending Champions Jerzy Jung Stephen Chopek Julian Fulton and the Zombie Gospel New Day Dawn April Mae and the June Bugs … Continue reading "Jersey Jamcast #31 – Super Variety!"

New Hurray For The Riff Raff, Wreckless Strangers, Colin Hay, String Bone, Dirty Knobs + Hayes Carll, Madonna, Marvin Gaye, Alicia Keys, April Mae & The June Bugs, Romero Delta, Taj Mahal, Memphissippi Sounds, Bound16, Roger Miller ... Birthdays for Bob Hite, George Harrison, Fats Domino