Podcasts about Kahan

Avi Kahan on How AI is Revolutionizing the Courtroom and Conflict Resolution VaadHadinVHoraah.com About the Guest(s): Avi Kahan is a conflict resolution expert with nearly 15 years of experience in arbitration and mediation. As the founder of a newly formed platform, VaadHadinVHoraah.com, Kahan leverages legal insight and a comprehensive understanding of interpersonal dynamics to help individuals and communities navigate high-conflict cases. His efforts focus on developing tools for conflict resolution, enabling people to autonomously handle disputes using AI-enhanced strategies. Episode Summary: Welcome to another thought-provoking episode of The Chris Voss Show! In this captivating discussion, host Chris Voss speaks with Avi Kahan, the innovative founder of VaadHadinVHoraah.com, a platform that merges legal expertise with advanced AI to assist users in conflict resolution. As the episode unfolds, Kahan passionately shares his journey from studying Jewish law and commercial disputes to founding his groundbreaking company dedicated to helping people resolve conflicts more effectively on their own. Driven by a mission to empower individuals, Kahan explains how his platform offers tools for both personal and commercial conflict resolution. Through proprietary AI assessments and a unique “do-it-yourself” approach, his website aims to educate and equip users with the necessary skills to manage disputes without relying heavily on external arbitrators or courts. Throughout this episode, engaging dialogue touches on the nuances of human behavior, the science of conflict dynamics, and the innovative applications of AI in legal contexts. Key Takeaways: Conflict Resolution Empowerment: Avi Kahan is dedicated to educating individuals on resolving their conflicts using innovative online tools, reducing reliance on lawyers and mediators. AI-Driven Assessment: The platform offers a detailed AI assessment to predict conflict outcomes based on personality, providing users with a comprehensive understanding of their conflict style. Philosophy and Law Intersection: Kahan's background in Jewish law underscores the philosophical foundations of legal systems, emphasizing a deep understanding of dispute dynamics. Cultural Insight: Through his experiences, Kahan highlights the cultural and religious influences affecting legal practices in different regions, shedding light on diverse methodologies of conflict engagement. Future Vision for Conflict Resolution: Kahan envisions a world where traditional barriers to conflict resolution are broken down by shared knowledge and innovative technological tools. Notable Quotes: “I'm trying to figure out a system of do it yourself conflict, almost resolve conflict on your own.” “An AI system that will help people navigate with conflict when they're having conflict with other people.” “We need to create a new opinion that we could all live together with. It's not gonna work otherwise.” “People don't understand that…it's the judge's new version that they just created in their head.” “I want answers. Not, oh, let's get along.”

Voice: Magda Neporová, Štěpán Švagr, Petr Hegedűs

Siggi og Lovísa á sínum stað í Popplandi þennan mánudaginn. Ný plata vikunnar kynnt til leiks, Í Raunheimum, ný plata frá hljómsveitinni Nýdönsk. Upphitun fyrir Söngvakeppnina sem fer að rúlla af stað, allskonar tónlist, nýtt og gamalt í bland. NÝDÖNSK - Verðbólgin augu. BILLY PAUL - Let the Dollar Circulate. SANTANA & ROB THOMAS - Smooth. Matchbox 20 - Unwell. CHICAGO, CHICAGO - 25 Or 6 To 4. TRÚBROT - Hlustaðu á regnið. Fender, Sam - People Watching. Fontaines D.C. - Favourite. Una Torfadóttir, Leikhópur úr sýningunni Stormur - Málum miðbæinn rauðan. Nýdönsk, Nýdönsk - Málum bæinn rauðan. Nýdönsk - Ég veit hvað kemur næst. RADIOHEAD - Fake Plastic Trees. BIRGO - Ég flýg í storminn. JUNGLE - Busy earnin'. Lumineers, The, Bay, James, Kahan, Noah - Up All Night. Karl Olgeirsson - Janúar. VELVET UNDERGROUND - Rock & Roll (Full-length Version). Amor Vincit Omnia - 100.000 km/klst. ÁSDÍS - Angel Eyes. Ágúst Þór Brynjarsson - Með þig á heilanum. Ágúst Þór Brynjarsson - Eins og þú. Logi Pedro Stefánsson, Unnsteinn Manuel Stefánsson, Bríet - Íslenski draumurinn. Gladys Knight and The Pips - Midnight Train To Georgia. Salka Sól Eyfeld - Tímaglas. Rogers, Maggie - In The Living Room. Crockett, Charley - Solitary Road. ARCADE FIRE - The Suburbs. Iðunn Einarsdóttir - Sameinast. GDRN - Hvað er ástin. Herra Hnetusmjör - Elli Egils. Saint Pete, Herra Hnetusmjör - Tala minn skít. Geto Boys - Mind playing tricks on me [radio]. Thee Sacred Souls - Live for You. DINA ÖGON - Mellam slagen. PAUL MCCARTNEY & WINGS - Silly Love Songs. THE STROKES - Last Nite. NÝDÖNSK - Raunheimar. GRACIE ABRAMS - That's So True. HAPPY MONDAYS - Step On. LANA DEL REY - Take Me Home, Country Roads. MORGAN WALLEN - Love Somebody.

On this episode of This Week in the Peace, Energeticcity.ca's Steve Berard chats with Mark Kahan of the Canadian Cancer Society. Kahan coordinates the Wheels for Hope program, which connects cancer patients with volunteers who offer safe and reliable transportation to cancer treatments.Then, Tana Milner & Crystal Kalas from the Child Development Centre joins Moose FM's Dub Craig to talk about the 52nd Annual Talent Show coming up on March 7th in support of the CDC.Tune in to This Week in the Peace every Friday at 10am MST live on 100.1 Moose FM and the Energeticcity.ca YouTube page. Hosted on Acast. See acast.com/privacy for more information.

Kollel Iyun Halacha. Shuirim are held Sun-Thurs at 185 Miller Road Lakewood NJ. For more info email: kih185miller@gmail.com

Saadgi भूल जाता हूँ मैं सितम उस के वो कुछ इस सादगी से मिलता है -जिगर मुरादाबादी Saadgi mein waqai hi aisi shakti hoti hai. Simple tareeke se kaha gaaya kuch ya phir saadgi se jiye gaye zindagi mein ek ajeeb si taqaat hoti hai jo humein zindagi mein ek sukoon deti hai ek identity deti hai. Toh aaiye is superpower ko thoda kareeb se jaanne ki koshish karte hain jo humein aaj ki taanav se bhari zindagi mein ek solution deti hai zindagi ko itminaan se jeena ka, rishton ko ek behtar tareeke se nibhane ka! Agar aapko yeh episode pasand aaya ho to aap please isey like, rate aur share kar lijiyga aur channel ko follow aur subscribe bhi kar lijiyega. Mujhe issey kaafi prerna milegi aur main aapka bahut aabhari rahunga. Dil Meri Jaan with Joy G, woh podcast show hai, woh manch hai jahan aap aur main milkar relationships yaani riston ke baarein mein, jazbaaton ke baarien mein, ehsaason ke baarein mein baatchit karengey, inhe samjhenge, kareeb se jaanenge, shero-shayari ki madad se, kavitaon, ghazalon, nazmon aur geeton ki madad se, philosophers ki madad se. Is podcast show ka maqsad hi rishton, jazbaaton aur ehsaason ko samajhna hai aur zindagi ko ek naye andaaz se dekhne ki koshish karna hai. Aapke saath milkar ek aisi community banani hai jahan hum ek naye nazariye se rishotn ko dekh sakein aur unhe ek behtareen tareekey se nibha sakein. Agar aap relationships ke baarein mein, emotions ke baarein, feelings ke baarein mein kuch bhi discuss karna chahtey hain ya kuch bhi share karna chahte hai to mujhe email zaroor kijiyega, mera email id hai ⁠dilmerijaanwithjoyg@gmail.com⁠ Aur doston agar aap zindagi, relationships, music mein dilchaspi rakhtein hain to kindly mujhse Instagram par bhi judein, mera Instagram handle hai @dilmerijaanwithjoyg. Main yahan shero-shayri, nazm, ghazal, sangeet ya poetry se zindagi ko dekhne ki, samajhne ki koshish karta hoon. Aap judhenge toh bahut accha lagega. Credits & Other information: Written and narrated by: Joy G Music: Pixabay Poems/Shers/Nazam used: Credit given to individual artists/ writers/creators Email: ⁠dilmerijaanwithjoyg@gmail.com⁠ Instagram handle: @dilmerijaanwithjoyg Disclaimer: Yeh episode meri niji raai hai, rishton aur ehsaason ke baarein mein meri niji soch hai jo maine zindagi se, apne tajurbe se aur auron ke rishton ko dekhkar, samajhkar haasil ki hai. Maine poori koshish ki hai ki aap ke samne jo bhi pesh karun woh sahi ho. Agar aapko kuch bhi galat lagey toh kindly mujhse share karein aur main immediately usko sudharne ki poori koshish karunga! Aur is episode mein maine meri likhi hui kavitaein, shero-shayari, geet, nazam aur ghazal ka allava kisi bhi dusre artist ka ya funkaar ka kuch bhi ullekh kya hai uska maine credit unko diya hai. Agar usme koi bhi truti hui ho toh main kshamaprarthi hoon!  

Dans cet épisode, la metteuse en scène Ambre Kahan explore la complexité de trouver un équilibre avec son corps pendant les périodes de profonde mutation.À travers ses expériences personnelles – métamorphoses physiques, troubles alimentaires, et violences vécues – elle dévoile un parcours où le corps devient le miroir des blessures intérieures.Ambre nous tisse sa vision du corps : comment il porte aussi bien les souffrances que les moments de joie, et comment, au-delà des épreuves, il parvient à retrouver son équilibre. Entre déconstruction et reconstruction, elle aborde la maternité, le désir, et la tendresse que nous offre le regard des autres sur notre corps.Un épisode bouleversant et intime, où les épreuves se mêlent à la poésie de la vie. À écouter si vous êtes prêt·es à plonger dans une conversation profonde et émouvante sur la quête de guérison du corps.Trigger warning : Cet épisode aborde des thèmes de violence sexuelle. L'écoute est déconseillée pour les personnes susceptibles d'être affectées par ce sujet.Vous pouvez suivre la compagnie Get Out, fondée par Ambre, pour découvrir ses spectacles et actualités à venir ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

¡Vigesimoquinto episodio! Les presentamos Al Chile, un podcast de Cheaf, presentado por Kim Durand. En este podcast conversaremos cada semana de las notas más relevantes de la industria alimentaria para LATAM.Hoy presentamos:Chile, México y Argentina: los líderes de la gastronomía latinoamericana, según un destacado ranking. EnlaceQuaker, sin nerviosismo por regulaciones alimentarias en escuelas. EnlaceDel papel a la práctica: la oportunidad de México para combatir el desperdicio de alimentos. EnlaceEntrevista con Zerene Kahan de Tetra Pak. LinkedInEste podcast se publica cada semana, ¡esperamos que lo disfruten! Hosted on Acast. See acast.com/privacy for more information.

Voice: Magdaléna Studená, Magda Neporová, Štěpán Švagr, Petr Hegedűs

Episode Summary: In this episode of Dear Songwriter, we dive into the art of storytelling in songwriting. Host Connor Lin Frost explores how Noah Kahan, a popular folk-influenced pop artist, uses three key songwriting techniques to elevate his music. You'll learn how to incorporate these tools into your own songs to create stronger, more compelling lyrics.Key Takeaways:The Detailed Two-Part ChorusNoah Kahan breaks from the norm by creating choruses that are more intricate and story-driven. This method helps progress the narrative without sacrificing the listener's ability to sing along. Conor analyzes the chorus from Kahan's song Dial Drunk to illustrate this point.WordplayThe clever use of language—whether through alliteration or reinterpreting meanings—can add depth and catchiness to your lyrics. Conor uses examples from Kahan's songs Homesick and Dial Drunk to show how wordplay can advance a story in just a few concise lines.The Dialogue BridgeLyrics that mimic real-life conversation help immerse the listener into the song's world. Conor highlights how Kahan employs direct address in Dial Drunk's bridge to create a genuine dialogue between two characters, enhancing the emotional impact of the song.Actionable Challenge: Try incorporating one of these techniques into your next song. Choose between a detailed two-part chorus, clever wordplay, or a dialogue bridge to elevate your storytelling.Listener Engagement: We'd love your feedback! Do you enjoy these episodes? Are they too detailed, or not detailed enough? Shoot Connor a DM on Instagram @ConnorLFrost and share your thoughts in 3-5 sentences.Resources Mentioned:Noah Kahan's songs: Dial Drunk, Stick Season, and HomesickMachine Gun Kelly's song: Emo GirlThank You for Listening!Make sure to subscribe to Dear Songwriter for more songwriting tips, and as always, happy writing!

Where did the FantasyBrainz go wrong? Charlie and Kahan dive into all things NFL Week 9 with the best players to start and sit. Stick around for an analysis of where Charlie and Kahan went wrong this draft season to get better for next year. 11:40-Qeueu The News 17:56-TNF Breakdown 23:15-Start/Sits 53:19-Dynasty Corner 1:01:30-Where We Went Wrong 1:29:17-Brainiac Mailbag

Send us a textElizabeth Garver Jordan's riveting coverage of the Lizzie Borden trial for The New York World captivated true-crime junkies of the late 19th-century, and her lengthy career as a journalist, fiction writer and literary editor still resonates today. Lori Harrison-Kahan and Jane Carr, editors of a brand new collection of Garver Jordan's work, join us this week to discuss her courtroom dispatches, her connection to today's #MeToo movement and how her “invisible labor” shaped the writing of literary giants like Sinclair Lewis and Henry James. Mentioned in this Episode: The Case of Lizzie Borden & Other Writings by Jane Carr and Lori Harrison-KahanElizabeth Garver Jordan's work:The Sturdy OakThe Whole Family The Lady of PentlandsThree Rousing Cheers“Ruth Herrick's Assignment”“The Cry of the Pack”The Superwoman and Other Writings by Miriam MichelsonHeirs of Yesterday by Emma WolfThe New York WorldNellie BlyThe Lizzie Borden caseThe Lizzie Borden house in Fall River, Mass.Harper's BazaarHarper and BrothersThe White Negress: Literature, Minstrelsy, and the Black Jewish Imaginary by Lori Harrison KahanAmish RumspringaSupport the showFor episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

Laxmiji Ka Niwas Kahan Hai Kahan Nahi : Pujya Sant Shri Asharamji Bapu Satsang

Laxmiji Ka Niwas Kahan Hai Kahan Nahi : Pujya Sant Shri Asharamji Bapu Satsang

Laxmiji Ka Niwas Kahan Hai Kahan Nahi : Pujya Sant Shri Asharamji Bapu Satsang

Laxmiji Ka Niwas Kahan Hai Kahan Nahi : Pujya Sant Shri Asharamji Bapu Satsang

Laxmiji Ka Niwas Kahan Hai Kahan Nahi : Pujya Sant Shri Asharamji Bapu Satsang

Laxmiji Ka Niwas Kahan Hai Kahan Nahi : Pujya Sant Shri Asharamji Bapu Satsang

Michael Kahan is a screenwriter and podcast host with more than 250 episodes under his belt. He is a master conversationalist who has not only interviewed but gone VERY deep with some of Hollywood's biggest stars on his own podcast, Funny In Failure. Michael just so happens to be one of my closest childhood friends. Who better to interview me than this legend! I'm very proud to share today's podCARst with you for no other reason than he's one of my best mates, I love the guy and I think you will too. Enjoy!Listen to Michael's podcast:https://funnyinfailure.com.au/podcast/Follow Michael:https://www.instagram.com/funnyinfailure/Enjoyed the podCARst or have some feedback for me?https://www.instagram.com/darrenlevyofficial

Oct 11,2024 Friday : Noon : Sandhya Satsang - Noon Kahan Se Aaye Ho Aur Kahan Jana Hai

After 5 weeks of NFL action, Charlie and Kahan take on all things week 6. Bringing you the players that are going to lead your teams to fantasy championships. 3:40-TNF Breakdown 12:40-Jaguars @ Bears 16:54-Cardinals @ Packers 21:25-Colts @ Titans 24:25-Texans @ Patriots 27:50-Bucs @ Saints 31:13-Browns @ Eagles 33:44-Dynasty Corner 37:27-Commanders @ Ravens 42:09-Chargers @ Broncos 44:06-Steelers @ Raiders 48:58-Lions @ Cowboys 51:03- Falcons @ Panthers 55:06-Bengals @ Giants 58:36-Bills @ Jets

In this weeks Episode of the FantasyBrainz, Kahan and Charlie bring you all things week 3. We run through the matchups and give you everything you need to know to bring home the win on Sunday with your favorite team. 1:00-Introduction 3:07-Gabriel Sisarica Injury Report 4:12-Thursday Night Football Breakdown 9:05-Giants @ Browns 12:28-Bears @ Colts 7:22-Texans @ Vikings 20:32-Eagles @ Saints 23:29-Chargers @ Steelers 26:30-Broncos @ Buccaneers 31:46-DYNASTY CORNER 36:48-Panthers @ Raiders 39:53-Dolphins @ Seahawks 42:13- Lions @ Cardinals 45:00-Ravens @ Cowboys 47:52-Rams @ 49ers 50:43-Chiefs @ Falcons 52:45-Commanders @ Bengals 55:15-Jaguars @ Bills

Linktree: https://linktr.ee/AnalyticPain Is Cold WaterIn this segment of Notorious Mass Effect, Analytic Dreamz dives deep into Noah Kahan's heartfelt ballad, "Pain Is Cold Water." From the song's emotional imagery to its exploration of commitment struggles, pain, and solace, we'll unpack the raw vulnerability and personal reflection that makes this track so relatable.Join us as we delve into the history behind the song, including its teasing since December 2022 and its live debut at Fenway Park. Discover how Kahan's lyrics resonate with fans and explore the broader themes of adapting to pain and finding comfort in the familiar.We'll also discuss the upcoming release of "Stick Season (Live From Fenway Park)" and explore Kahan's collaborations and upcoming performances.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Dukh Kahan Se Aaya : Pujya Sant Shri Asharamji Bapu Satsang

Dukh Kahan Se Aaya : Pujya Sant Shri Asharamji Bapu Satsang

Dukh Kahan Se Aaya : Pujya Sant Shri Asharamji Bapu Satsang

Dukh Kahan Se Aaya : Pujya Sant Shri Asharamji Bapu Satsang

Dukh Kahan Se Aaya : Pujya Sant Shri Asharamji Bapu Satsang

Dukh Kahan Se Aaya : Pujya Sant Shri Asharamji Bapu Satsang

The FantasyBrainz bring to you their hot takes of the upcoming 2024 NFL season. Find out which players Charlie & Kahan are egregiously high on. Stay tuned for all our predictions to hit come the end of the season...

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. 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/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

6/6/24:  Rep Jim McGovern: D-Day, immigration & Gaza. Rev Andrea Ayvazian & N'hmptn City Councilor Garrick Perry on reparations. Filmmaker Larry Hott: Super Size Me's Morgan Spurlock & RETROGRADE. Ruth Griggs w/ Adam Kahan, from the Oslo Freedom Forum, producer of the film "Buster Williams Bass to Infinity."

Linktree: https://linktr.ee/AnalyticWelcome to the latest segment of Notorious Mass Effect, where your host, Analytic Dreamz, delves into the evocative melodies and poignant lyrics of Noah Kahan's “Stick Season.” This segment explores the raw emotions and stark imagery that Kahan masterfully weaves into his music, encapsulating the essence of New England's stick season—a time marked by the skeletal remains of trees post-Halloween and the anticipatory chill of the impending winter.In this deep dive, we peel back the layers of “Stick Season,” examining how the song's narrative mirrors the natural world's transition and reflects the internal landscapes of change and loss. Join Analytic Dreamz as they unpack the symbolism behind the barren branches and the grey skies, drawing parallels to the universal experience of moving through life's inevitable shifts.Whether you're a fan of Kahan's heartfelt storytelling or simply seeking solace in the shared human experience of transformation, this segment promises an insightful and resonant journey through the melancholic beauty of autumn's twilight.Remember to subscribe and follow for more segments that connect music, emotion, and the seasons of life with the analytical depth and communicative flair that only Analytic Dreamz can deliver.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hazel Kahan, long-time interview host, discusses her shows Tidings and North Fork Works and describes her journey from a successful publicist in the corporate world to a talk show host on WPKN. Interview by Richard Hill

In this episode, Scotty, Alan, Yeti, and Kahan explore all of the rumors, hot takes, and predictions heading into this week's NFL Draft. --- Send in a voice message: https://podcasters.spotify.com/pod/show/leatherbrainz/message

A conversation with Alan S. Kahan about his recent book, "Freedom from Fear: An Incomplete History of Liberalism" (Princeton UP).

In this episode, Slapdawg, Scotty, and Kahan discuss all of the latest offseason NFL buzz and give their takes on how the NFL Draft will shake out next week. --- Send in a voice message: https://podcasters.spotify.com/pod/show/leatherbrainz/message

How data science and generative AI are changing the world — for good.  In his last role at Microsoft, John Kahan headed up what would become Microsoft's AI for Good efforts. To this day, John continues to use data and AI to help solve the world's problems whether it's via his work with Aaron Matthew SIDS Research Foundation at Seattle Children's hospital or advising organizations that include U.S. Venture, MidOcean Partners, Stagwell, Novartis Foundation and the Institute of Health Metrics and Evaluation. In this episode of Beyond the Blue Badge, host Rich Kaplan talks with John about advances in data science, AI for Good and the evolution of artificial intelligence. 

The Grammy Awards, Justin Timberlake and Britney Spears feuding again, the first ever Parent Dump, Superbowl prop bets and dramatic Tik Tok readings from Sarah. THIS is the Pop Culture Recap. See omnystudio.com/listener for privacy information.

[REBROADCAST FROM Dec 7, 2022] The singer songwriter and proud Vermonter Noah Kahan's latest album, Stick Season, is a tribute to the time of the year between fall and winter, what locals in his hometown call stick season. Kahan joined us in studio for a Listening Party, and also to performs some special acoustic versions of songs from the album, which helped him earn his Grammy nomination.

We have a very special guest with us today, Gossip Royalty. Headgum Producer extraordinaire and HUGE Gossip Girl fan, Allie Kahan! We're here to discuss one of the biggest secrets of the season... a ghost? We love when the gang teams up again! Join us for Season 5, Episode 22 of Gossip Girl : Raiders of the Lost Art.You know you love us,XOXO, Gossip Kings.Like the show? Rate XOXO Gossip Kings 5-Stars on Apple PodcastsFollow XOXO Gossip Kings:Instagram: @xoxogossipkings_podcastFollow Carl Tart:Instagram: @dammitcarl Follow Lamar Woods: Instagram: @prophmaticFollow Allie Kahan: Instagram: @alliekahanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Noah Kahan is having a banner year. Between his Best New Artist nomination at the Grammys, his debut SNL performance, and collaborations with everyone from Post Malone to Hozier, the Vermont singer-songwriter has transcended the confines of New England to become one of the harbingers of the 2023 stomp-clap revival. This episode of Switched on Pop, host Charlie Harding sits down in person with Kahan to find some secret magic chords, opine on car commercial music, and talk about all things Stick Season.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

What is liberalism, and what thinkers shaped it? Does it take a stance on moral and religious issues? What is its relationship with nationalism and populism? Alan Kahan ‘80, Professor of British Civilization at the Université de Paris-Saclay, discusses his latest book Freedom from Fear: An Incomplete History of Liberalism (Princeton UP, 2023). Along the way, he discusses thinkers […]

The way buyers interact with businesses has changed. Buyers no longer want to interact with multiple car dealerships when buying a car, instead preferring to search online and conduct their own research. It is important to meet those changes and understand your customer’s language and needs. Our guest teacher Steven Mark Kahan shares his expertise […] The post MBA2328 Guest Teacher – Steven Mark Kahan – How to set in motion a modern digital marketing strategy & increase revenue growth appeared first on The $100 MBA.