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3 episodes with maddaddam
2 episodes with maddaddam
2 episodes with maddaddam
2 episodes with maddaddam
2 episodes with maddaddam
2 episodes with maddaddam
2 episodes with maddaddam
2 episodes with maddaddam
2 episodes with maddaddam
Da Margaret Atwood begynte på mesterverket The Handmaid's Tale (Tjenerinnens beretning) i 1984, var hun på et skriveopphold i Vest-Tyskland, bare et steinkast fra muren mot Øst-Berlin, med sitt allestedsnærværende hemmelige politi. Verdenen på den andre siden av jernteppet var en klar inspirasjon for den verdenskjente framtidsdystopien hennes, der hun lagde seg en regel om å ikke legge til noe i Gileads univers som ikke allerede har skjedd på et tidspunkt i vår historie.På den andre siden av muren, i DDR, vokste Jenny Erpenbeck opp, og var vitne til både republikkens storhetstid og dens fall og det kapitalistiske Vestens seier bare få år senere. I sitt prisvinnende forfatterskap har Erpenbeck utforsket Tysklands og det øvrige Europas komplekse historie, der vanlige mennesker blir fanget av sin tids grandiose ideer og omveltninger.Både Atwood og Erpenbeck har befattet seg litterært med totalitarisme, med historien og hvordan den former nåtiden og framtiden, med den skjøre virkeligheten vi lever i, og hvor lett den kan vippe over i brutalitet. De skriver begge lyrisk og nyskapende skjønnlitteratur, og tar i bruk mytologi, annen litteratur og filosofi, men forbindelsene til verden rundt oss - enten det er fortiden, nåtiden eller mulige framtider vi er på vei mot - er aldri langt unna.Margaret Atwood står bak mer enn 70 utgivelser av romaner, poesi, noveller, barnebøker og essaysamlinger. Fortellinger som The Handmaid's Tale og MaddAddam-trilogien har gjort henne kjent verden over, og en rekke av bøkene hennes har blitt adaptert til film, TV, opera og ballett. I likhet med Erpenbeck trekkes hun ofte fram som en av de store favorittene til å vinne Nobelprisen i litteratur.Jenny Erpenbeck er forfatter av en lang rekke kritikerroste og prisbelønte romaner, novellesamlinger, skuespill og essays. Hennes seneste roman, Kairos, vant tidligere i år den gjeve internasjonale Booker-prisen.Denne podkasten er fra da disse to fabelaktige forfatterne møttes på en scene for første gang, til en samtale om historie og samfunn, erindring og framtidshåp. Samtalen ble ledet av Helge Jordheim, professor i kulturhistorie ved Universitetet i Oslo.Arrangementet foregikk i Universitetets Aula 2. November 2024. Hosted on Acast. See acast.com/privacy for more information.
When she began her masterpiece The Handmaid's Tale in 1984, Margaret Atwood was living in West Berlin, just a stone's throw away from the Wall to East Berlin, with its omnipresent secret police. The world behind the Iron Curtain clearly influenced her famous future dystopia, in which she set as a rule that she would not include any horrors that humans had not already done in some other place or time in history.On the other side of the Wall, author Jenny Erpenbeck grew up in the east, the German Democratic Republic (DDR), experiencing the country's zenith as well as its disintegration and the victorious capitalist West just a few years later. In her award winning body of work, Erpenbeck has gone on to explore the complex history of Germany and greater Europe, where ordinary citizens become hostages to the grand ideas and ruptures of the times.Both Atwood and Erpenbeck are concerned with totalitarianism, with history and how it informs the present and the future, with our fragile normality, and how quickly it can turn into brutality. While they write lyrical and innovative fiction - incorporating mythology, literature and philosophy - the links to the world around us, either past, present or futures we are headed towards, are always there.Margaret Atwood has published more than 70 books of poetry, short story collections, novels, children's books,and essay collections. Stories like The Handmaid's Tale and the MaddAddam trilogy have made her a name across the world, and a number of her books have been adapted to film, TV, opera and ballet, and, like Erpenbeck, she is regularly mentioned as a favorite for the Nobel prize in literature.Jenny Erpenbeck is the author of a number of critically acclaimed and award winning novels, short story collections, plays and essays. Her latest novel, Kairos, won the 2024 International Booker Prize.In this event, these two exceptional authors met for the first time on stage, for a conversation about history and society, memory and hope for the future. The conversation was moderated by Helge Jordheim, professor of cultural history at the University of Oslo.The conversation took place on November 2st, 2024 in The University of Oslo's Ceremonial Hall. LitHouse is a podcast from the House of Literature in Oslo, presenting adapted versions of lectures and conversations featuring international writers and thinkers. Hosted on Acast. See acast.com/privacy for more information.
Tom Sutcliffe is joined by Natalie Jamieson and Matt Cain to review:Cher, The Memoir, Part one - the pop icon and Oscar winning actor tells the story of her childhood and early success.The film version of Wicked is the long awaited film adaptation which is also the first of two parts, starring Ariana Grande and Cynthia Erivo and telling the story of the Witches of Oz. Maddaddam: renowned choreographer Wayne McGregor has brought Margaret Atwood's trilogy of sci fi novels to the stage with a ballet, new to London's Royal Opera House.And a look at how a new play, The Fight, about boxer Cuthbert Taylor has ignited primary school children in Wales to start a campaign. We talk to the play's author, Geinor Styles. Presenter: Tom Sutcliffe Producer: Corinna Jones
Markus Zusak uses words like “challenging” and “ complex” to describe his three dogs, Reuben, Archie and Frosty. In this interview Zusak recounts the joy of remembering his hounds in all their unvarnished glory for this, his first memoir. Also, the challenge of recording his own audio books, the old favourites he likes to read and re-read “forensically”, and which of his favourite books piqued Archie's literary tastebuds! + Our beloved reviewers of literary classics, Kylie Cardell and Lisa Bennett, return to reassess Louisa May Alcott's “Little Women”. Kylie has read it many times and Lisa for the first time this year. The tale has obviously endured in our popular culture, movies and vernacular but is it still a “good read”? Guests: Markus Zusak, author of “Three Wild Dogs and the Truth”. Also “The Book Thief”, “Bridge of Clay”, “The Messenger” and the young adult trilogy “The Underdog”, “Fighting Ruben Wolfe” and “When Dogs Cry”. Associate Professor Kylie Cardell teaches and researches life narrative with the College of Humanities, Arts and Social Sciences, Flinders University. Associate Professor Lisa Bennett teaches undergraduate and Honours classes in Creative Writing and English, Flinders University. Maddie recounts the books she first fell for as a teenager, her passion for Margaret Atwood's dystopian creations and a series that explores indigenous knowledge. Other books that get a mention: Annie mentions “Butter” by Asako Yuzuki and “All Fours” by Miranda July. Michaela mentions “Want; Sexual fantasies by anonymous” edited by Gillian Anderson. Markus mentions “Demon Copperhead” by Barbara Kingsolver, “All the Pretty Horses” written by Cormac McCarthy and narrated by Brad Pitt, “Cairo” by Chris Womersley, “What's Eating Gilbert Grape” by Peter Hedges, “The Amazing Adventures of Kavalier & Clay” by Michael Chabon and “Barbarian Days; A surfing life” by William Finnegan Maddie mentions young adult author Margaret Clark, “Puberty Blues” by Gabrielle Carey and Kathy Lette, “The Handmaid's Tale”, “Oryx & Crake”, “The Year of the Flood” and “MaddAddam” by Margaret Atwood, the six-part “First Knowledges” series, in particular “Astronomy” edited by Margo Neale. INSTAGRAM @markuszusak @macmillanaus @kyliesays @lisahannett ReplyForwardAdd reactionSee omnystudio.com/listener for privacy information.
Markus Zusak uses words like “challenging” and “ complex” to describe his three dogs, Reuben, Archie and Frosty. In this interview Zusak recounts the joy of remembering his hounds in all their unvarnished glory for this, his first memoir. Also, the challenge of recording his own audio books, the old favourites he likes to read and re-read “forensically”, and which of his favourite books piqued Archie's literary tastebuds! + Our beloved reviewers of literary classics, Kylie Cardell and Lisa Bennett, return to reassess Louisa May Alcott's “Little Women”. Kylie has read it many times and Lisa for the first time this year. The tale has obviously endured in our popular culture, movies and vernacular but is it still a “good read”? Guests: Markus Zusak, author of “Three Wild Dogs and the Truth”. Also “The Book Thief”, “Bridge of Clay”, “The Messenger” and the young adult trilogy “The Underdog”, “Fighting Ruben Wolfe” and “When Dogs Cry”. Associate Professor Kylie Cardell teaches and researches life narrative with the College of Humanities, Arts and Social Sciences, Flinders University. Associate Professor Lisa Bennett teaches undergraduate and Honours classes in Creative Writing and English, Flinders University. Maddie recounts the books she first fell for as a teenager, her passion for Margaret Atwood's dystopian creations and a series that explores indigenous knowledge. Other books that get a mention: Annie mentions “Butter” by Asako Yuzuki and “All Fours” by Miranda July. Michaela mentions “Want; Sexual fantasies by anonymous” edited by Gillian Anderson. Markus mentions “Demon Copperhead” by Barbara Kingsolver, “All the Pretty Horses” written by Cormac McCarthy and narrated by Brad Pitt, “Cairo” by Chris Womersley, “What's Eating Gilbert Grape” by Peter Hedges, “The Amazing Adventures of Kavalier & Clay” by Michael Chabon and “Barbarian Days; A surfing life” by William Finnegan Maddie mentions young adult author Margaret Clark, “Puberty Blues” by Gabrielle Carey and Kathy Lette, “The Handmaid's Tale”, “Oryx & Crake”, “The Year of the Flood” and “MaddAddam” by Margaret Atwood, the six-part “First Knowledges” series, in particular “Astronomy” edited by Margo Neale. INSTAGRAM @markuszusak @macmillanaus @kyliesays @lisahannett ReplyForwardAdd reactionSee omnystudio.com/listener for privacy information.
Canadian author Margaret Atwood is a living legend. Since her debut in 1961 with the poetry collection Double Persephone, she has published more than 70 books of poetry, short story collections, novels, children's books, essay collections and even opera librettos, including the world-renowned novels The Handmaid's Tale and the MaddAddam trilogy. Atwood has truly made her mark with her literary explorations of totalitarianism, patriarchal structures and environmental destruction, and is known for her almost prophetic speculative fiction, set in societies curbing women's rights or experiencing a worldwide pandemic or environmental collapse.In her literature, Atwood is mischievous, fearless and original, frequently incorporating elements from classical texts, fairytales and works by writers like William Shakespeare or George Orwell. While her books often include elements from historical events, they also suggest new worlds and possibilities for the future.Atwood was joined by journalist and writer Karin Haugen for a conversation about the past and the present, prophetic stories and her unique body of work. This conversation was hosted by The House of Literature in Oslo and took place on October 31st, 2024 at the Oslo Opera House. LitHouse is a podcast from The House of Literature in Oslo, presenting adapted versions of lectures and conversations featuring international writers and thinkers. Music by Apothek. Hosted on Acast. See acast.com/privacy for more information.
Kanadiske Margaret Atwood er en levende legende. Siden debuten i 1961 med diktsamlingen Double Persephone, har hun over 70 utgivelser bak seg, av poesi, novellesamlinger, romaner, barnebøker, essaysamlinger og opera-librettoer, inkludert verdenskjente titler som Tjenerinnens beretning og MaddAddam-trilogien. Atwoods har særlig markert seg med sine utforskninger av totalitarisme, patriarkalske strukturer og miljøødeleggelse, og er kjent for sin nærmest profetiske spekulative fiksjon, der hun har skildret temaer som innsnevring av kvinners rettigheter, en verdensomspennende pandemi og klimakollaps.Litterært er Atwood fabulerende, uredd og original, med tydelige referanser til litteraturhistorien, enten det er klassiske tekster, eventyr, eller forfattere som William Shakespeare og George Orwell. Litteraturen hennes inneholder ofte elementer fra historiske hendelser, og peker samtidig framover mot nye verdener og nye muligheter.Atwood møtte journalist og forfatter Karin Haugen til samtale om sitt omfangsrike forfatterskap, om historie, samtid, og profetiske fortellinger.Denne samtalen ble arrangert av Litteraturhuset, og foregikk 31. oktober 2024 på hovedscenen til Den Norske Opera og Ballett. Litteraturhusets podkast presenterer bearbeidede versjoner av utvalgte samtaler og foredrag fra Litteraturhusets program. Musikk av Apothek. Hosted on Acast. See acast.com/privacy for more information.
Margaret Atwood nevnes årlig som en kandidat til nobelprisen i litteratur. Sølvbergets Åsmund Ådnøy har lest romanene hennes i kronologisk rekkefølge, fra begynnelsen i 1969 til våre dager. Hvilke sammenhenger viser seg da? I fire episoder går vi gjennom Atwoods romaner. Dagens episode handler om romanene hun skrev på 2000-tallet. Der andre begynner å tenke på pensjonistlivet, gjorde Atwood det motsatte. Romanene hennes på 2000-tallet er lekne, dristige og urovekkende. Og morsomme! Vi snakker om: (00:00) Et leseprosjekt: Margaret Atwoods romaner. (02:26) Den blinde morderen (10:47) Oryx og Crake (20:33) Penelopiaden (26:23) Flommens år (33:01) Maddaddam (37:49) Scribbler moon (39:32) Hjertet gir seg ikke (46:33) Hekseyngel (51:38) Gileads døtre (56:33) Oppsummering Les mer om Scribbler moon, som er en del av Framtidsbiblioteket: https://www.visitnorway.no/aktiviteter-og-attraksjoner/kunst-kultur/litteratur/framtidsbiblioteket-i-nordmarka/ --- Innspilt på Sølvberget bibliotek og kulturhus i januar 2024. Medvirkende: Tomas Gustafsson og Åsmund Ådnøy. Produksjon: Åsmund Ådnøy
This week on Finding Your Bliss, we have our annual holiday special! Life Coach and Bliss Expert Judy Librach is joined by Prima Ballerina Heather Ogden (The National Ballet of Canada) and our very own film critic, Thom Ernst!
It is increasingly accepted that we cannot take nature for granted. But do we even know what nature is? Catherine Oliver brings her expertise in geography and sociology – plus her love of chickens – to the latest Uncommon Sense to reflect on what's at stake in how we think of and relate to “nature” – and how we might do better. Along the way, she considers what happens when neoliberalism shapes what “good” nature is – whether in regeneration or meddling with metabolisms.Alexis and Rosie also ask Catherine: how might the chicken be “thriving” yet also “extinct”? What potential is there in speaking of the “more than” and “beyond” human? And what responsibility do social scientists have for the age-old binaries that split humans from wider nature?Plus: a celebration of Andrea Arnold's “Cow”, Margaret Atwood's “MaddAddam” trilogy and – Alexis' favourite – “Captain Planet”.Guest: Catherine OliverHosts: Rosie Hancock, Alexis Hieu TruongExecutive Producer: Alice BlochSound Engineer: David CracklesMusic: Joe GardnerArtwork: Erin AnikerFind more about Uncommon Sense at The Sociological Review.Episode ResourcesCatherine, Rosie, Alexis and our producer Alice recommendedAndrea Arnold's film “Cow”Margaret Atwood's “MaddAddam” book trilogyTV series “Captain Planet and the Planeteers”Evia Wylk's essay collection “Death by Landscape”From The Sociological ReviewPerforming the classification of nature – Claire WatertonDaphne the Cat: Reimagining human–animal boundaries on Facebook – Verónica PolicarpoUnnatural Times? The Social Imaginary and the Future of Nature – Kate SoperBy Catherine OliverRising with the rooster: How urban chickens are relaxing the pace of lifeTransforming paradise: Neoliberal regeneration and more-than-human urbanism in BirminghamThe Opposite of ExtinctionReturning to 'The Good Life'? Chickens and Chicken-keeping during Covid-19 in BritainMetabolic ruminations with climate cattle: towards a more-than-human metabo-politics (co-authored with Jonathon Turnbull)Further reading“Sand Talk: How Indigenous Thinking Can Save” – Tyson Yunkaporta“Toward equality: Including non-human animals in studies of lived religion and nonreligion” – Lori G. Beaman, Lauren Strumos“A History of the World in Seven Cheap Things: A Guide to Capitalism, Nature, and the Future of the Planet” – Raj Patel, Jason W. Moore“The Chicken Chronicles: A Memoir” – Alice Walker“The Chicken Book” – Page Smith, Charles DanielRead more about the work of Zoe Todd, Adam Searle, Anna Tsing, Anna Guasco, Paige Colton and The Care Collective.
Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes. In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes. In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-fiction
Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes. In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes. In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography
Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes. In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community's identity, orientation, and stakes. In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
"For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"And literature is indeed a big part of what I'm about, in a way. I love stories. Both music, literature, and visual art. These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about it. You know, when you are reading a piece of writing by someone or you are seeing a piece of visual art, you are seeing a window into that person's encounter with reality. That person's biography, what things mean to them. and then you can compare notes, you can compare notes with that person. How is it that person sees these things? And how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world.Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next.And how is her work going? And how is my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."And literature is indeed a big part of what I'm about, in a way. I love stories. Both music, literature, and visual art. These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about it. You know, when you are reading a piece of writing by someone or you are seeing a piece of visual art, you are seeing a window into that person's encounter with reality. That person's biography, what things mean to them. and then you can compare notes, you can compare notes with that person. How is it that person sees these things? And how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world.Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next.And how is her work going? And how is my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"I only do cinema and film and TV projects which really matter to me, where I think that it's important, there's something being said here which I want to support. So mostly I will start with just making some sketches from the script.Of course, it's a journey, and it's a fundamentally collaborative journey. So, once the images start to happen, then there's a whole dialogue process with the rest of the creative team about how music can best inhabit, support, and serve the rest of the material. And it's really a series of experiments. It's to do with keeping a very open mind, trying things, and seeing what happens. It's an exciting kind of collaborative laboratory experiment, I think, working on film and television, and I enjoy it, the sort of puzzle solving, the questioning. It's good fun."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."I only do cinema and film and TV projects which really matter to me, where I think that it's important, there's something being said here which I want to support. So mostly I will start with just making some sketches from the script.Of course, it's a journey, and it's a fundamentally collaborative journey. So, once the images start to happen, then there's a whole dialogue process with the rest of the creative team about how music can best inhabit, support, and serve the rest of the material. And it's really a series of experiments. It's to do with keeping a very open mind, trying things, and seeing what happens. It's an exciting kind of collaborative laboratory experiment, I think, working on film and television, and I enjoy it, the sort of puzzle solving, the questioning. It's good fun."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."At the Studio Richter Mahr, we're trying to make it as 360 degrees as possible. So the center of the building is a cafe, and that cafe is fueled, if you like, from the organic garden. So there are no food miles. We grow everything. The electricity comes from the solar on the roof. The building itself was upcycled from a big old tractor shed. And we took the insides out and put new insides in, which are all the studios.It's a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly.It's a challenging time, I feel like the next half a dozen decades maybe are the kind of pinch point where things can either start to get better or a lot worse. And that's to do with large-scale ideas about what society is and what it should do. And how we distribute wealth, power, opportunity, education, and creativity. And creative work, I think, can be a catalyst that can help us to see bigger contexts, and engage with deeper meanings. And these are all ways to figure out what's important and what isn't important.The world is very busy and we too tend to get sort of a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. So our children, they're facing probably some of the biggest challenges we've ever faced, in the way, they're existential. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to sort of elevate the gaze a little bit. You know, Beethoven, somebody who lived 250 years ago, makes my life better just every day. It's not huge, but it's a little bit better every day. And I think that's what creativity can do. And, if you multiply that across time and populations, you can make a little change, and I think that's what creativity can do."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."So Studio Richter Mahr is a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly. And in a way, it's a laboratory. We're excited by other minds, other people with their own ideas, their own thoughts coming in. So it's a space where we can exchange ideas.Well, Yulia is really important in everything I do because we have collaborated explicitly on some projects, for example, on Voices, that's very much the outcome of a million conversations we had. And she's made some beautiful visual material for that project. Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next. And how's her work going and how's my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking.A piece like Voices, this comes out of conversations Yulia and I were having in 2017, 2018 in a sort of Trump era, I guess, where you just think, hang on, this isn't right. What's going on here? Okay, so in the way that somebody who isn't an artist, they would just say that to their friends. They would have a conversation, "I don't like what's happening here. This is all wrong." Well, as artists, we also want to have those conversations. We also want to convey our thoughts and feelings about the world we're living in. And it was very simple, in a way, an intuitive response to the things we saw happening around us in our daily lives. Artists are of course just ordinary people, too. And it so happens that instead of having a conversation or having a coffee with a friend, making a piece of music about it - it's the same impulse."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir's Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"So Studio Richter Mahr is a project which really is the outcome of an idealistic vision of how creativity can coexist with the broader community, but it's something that Yulia and I passionately believe in. We believe in the possibility of creative work having an elevating effect in society more broadly. And in a way, it's a laboratory. We're excited by other minds, other people with their own ideas, their own thoughts coming in. So it's a space where we can exchange ideas.Well, Yulia is really important in everything I do because we have collaborated explicitly on some projects, for example, on Voices, that's very much the outcome of a million conversations we had. And she's made some beautiful visual material for that project. Sleep was a great long conversation between us. You know, we've sat around over the kitchen table for 20 years having ideas and talking to one another about creative ideas and approaches to how creativity can sit in the world, and what should we do next. And how's her work going and how's my work going? I mean, this is what we do. So if we're talking about sources, then I guess that's really the primary source. And then of course we're also on our own creative journeys, exploring, researching, and thinking.A piece like Voices, this comes out of conversations Yulia and I were having in 2017, 2018 in a sort of Trump era, I guess, where you just think, hang on, this isn't right. What's going on here? Okay, so in the way that somebody who isn't an artist, they would just say that to their friends. They would have a conversation, "I don't like what's happening here. This is all wrong." Well, as artists, we also want to have those conversations. We also want to convey our thoughts and feelings about the world we're living in. And it was very simple, in a way, an intuitive response to the things we saw happening around us in our daily lives. Artists are of course just ordinary people, too. And it so happens that instead of having a conversation or having a coffee with a friend, making a piece of music about it - it's the same impulse."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."You know, so much of it is about trying to get to a situation where you can sort of uncover the work. It is sort of out there, and it's about having enough patience, peace of mind, concentration, and opportunity to kind of let it come into the foreground somehow. I think Picasso says that: "I hope that when inspiration strikes, it finds me sitting in the chair." You know, so you do have to be in the chair in order for that process to happen. Or in some way in the chair, maybe not literally, but you need to be ready.Creative work in some way feels like a dialogue with something else. But you know, whether that's something else that is kind of out there, or whether that's something else that is actually just a part of our mind which is normally inaccessible to us, it sort of doesn't matter, in a way. It's sort of not important. But I do think that feeling of there being a dialogue or some sort of inquiry into something else, that's fundamental to creativity.So again, it's something which is about tabula rasa, something which is about fundamentals, things which are universal, kind of the origin of being, in a way. So all of these sorts of gestures, all of these kinds of ideas in Sleep, they all point to the idea of sleep as being, in some ways, a negotiation. A conversation between a kind of existence and non-existence, you know? "Our little life is rounded with a sleep." You know, this idea of being a kind of fundamental state. So all of the musical language, all the musical objects suggest that sort of feeling. And I think we all need that. We all need to connect to these fundamentals, to the big things which are sort of pre-civilization, the things which are before all the noise, the things which are shared, very simple human experiences.I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of a different world.”www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
"You know, so much of it is about trying to get to a situation where you can sort of uncover the work. It is sort of out there, and it's about having enough patience, peace of mind, concentration, and opportunity to kind of let it come into the foreground somehow. I think Picasso says that: "I hope that when inspiration strikes, it finds me sitting in the chair." You know, so you do have to be in the chair in order for that process to happen. Or in some way in the chair, maybe not literally, but you need to be ready.Creative work in some way feels like a dialogue with something else. But you know, whether that's something else that is kind of out there, or whether that's something else that is actually just a part of our mind which is normally inaccessible to us, it sort of doesn't matter, in a way. It's sort of not important. But I do think that feeling of there being a dialogue or some sort of inquiry into something else, that's fundamental to creativity.So again, it's something which is about tabula rasa, something which is about fundamentals, things which are universal, kind of the origin of being, in a way. So all of these sorts of gestures, all of these kinds of ideas in Sleep, they all point to the idea of sleep as being, in some ways, a negotiation. A conversation between a kind of existence and non-existence, you know? "Our little life is rounded with a sleep." You know, this idea of being a kind of fundamental state. So all of the musical language, all the musical objects suggest that sort of feeling. And I think we all need that. We all need to connect to these fundamentals, to the big things which are sort of pre-civilization, the things which are before all the noise, the things which are shared, very simple human experiences.I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of a different world.”Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
The Creative Process in 10 minutes or less · Arts, Culture & Society
"For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter's music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.
"The idea of Studio Richter Mahr connecting with the local school, it's not like everyone has to be a musician, but even if you're not a musician, having the experience of being around music is a positive. It is a gain, it's a thing which just seems to illuminate the rest of life in some way. Again, it goes back to the sort of puzzle of how music works and what it is we were talking about at the beginning. There's something about being around music or being involved with it in whatever way that just seems to lift everything else up. And I think, if we can offer that to local kids, then we should do it. The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
Composer Max Richter is known for his ability to translate profound human emotions into music. Max's record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He's the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It's a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."The idea of Studio Richter Mahr connecting with the local school, it's not like everyone has to be a musician, but even if you're not a musician, having the experience of being around music is a positive. It is a gain, it's a thing which just seems to illuminate the rest of life in some way. Again, it goes back to the sort of puzzle of how music works and what it is we were talking about at the beginning. There's something about being around music or being involved with it in whatever way that just seems to lift everything else up. And I think, if we can offer that to local kids, then we should do it. The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast
George Balanchine is one of the most revered and influential choreographers of the twentieth century. In this first major biography about his life Jennifer Homans offers an intimate portrait of the man who co-founded the New York City Ballet and brought the art form so spectacularly into the modern age. She explores his life and legacy, revealing a complicated genius who was inspired to choreograph dances from subjects as diverse as Spinoza's philosophy to Orthodox icons, disrupting the norms of ballet and pushing the dancers into creative worlds of abstraction. Wayne McGregor is a contemporary titan of the dance world. He has just returned from Toronto where his ballet based on Margaret Atwood's post-apocalyptic book, MADDADDAM, had its world premiere in a joint production for The Royal Ballet and the National Ballet of Canada. Wayne McGregor's own dance company is celebrating its thirtieth anniversary and since its inception has been the experimental and creative forum for Wayne's innovative choreographic style. Ballet Black was founded by Cassa Pancho just over twenty years ago in response to the lack of racial diversity in ballet and offers dancers of Black and Asian descent a platform to showcase their talents. The company has gone from strength to strength, continually overturning stereotypes and transforming the landscape of classical dance. In March 2023 the company will perform ‘Pioneers' at the Barbican, comprising new and original work by award-winning choreographers Will Tuckett and Mthuthuzeli November. Producer: Natalia Fernandez Music credits: Wayne McGregor's MADDADDAM, Act 1 (except), original score by Max Richter. A co-production between the National Ballet of Canada and The Royal Ballet, inspired by the trilogy by Margaret Atwood. ‘Then or Now'. (ballet choreographed by Will Tuckett. The poetry of Adrienne Rich with music by Heinrich Ignaz Franz von Biber, arranged by Daniel Pioro. The poetry reading is by Michael Shaeffer.) Simon Rattle / Berlin Philharmonic Orchestra - Stravinsky: Apollon Musagete (Second Tableau, variation of Calliope
Debutar en la novela a los 49 años, como ha hecho Eva Cruz, llama la atención, pero no tanto como hacerlo a los 70, como hizo la inglesa Mary Wesley, para convertirse en autora de catorce bestsellers, demostrando que para todo hay tiempo. La autora de "Veinte años de Sol" (editorial ADN) y redactora del Hoy por Hoy habla de cómo surgió la novela (un desprendimiento de retina, un mensaje de Manuel Martín-Loeches sobre neurotecnología, una obsesión con portales inmobiliarios...) y receta libros a colaboradores del programa, como Bob Pop, Jaime García-Cantero o el propio Loeches. Desfilan por su consulta grandes autores: Juan Gabriel Vásquez ("Volver la vista atrás" en Alfaguara), William Boyd ("Las aventuras de un hombre cualquiera" en Alfaguara), Christos Tsiolkas ("La bofetada", en RBA), Alan Pauls ("El pasado", en Anagrama), Hervé Letelier ("La anomalía", en Seix Barral), Ted Chiang ("Exhalación", en Sexto Piso), Margaret Atwood ("La trilogía de Maddaddam", en Salamandra), Maggie O'Farrell ("Hamnet", en Libros del Asteroide), Tessa Hadley ("Lo que queda de luz" y "Amor libre" en Sexto Piso) o Mary Wesley ("El césped de manzanilla", en Alba).
PRESENTACIÓN LIBROS 0:01:40 El cielo de piedra. La tierra desfragmentada #3 (N.K. Jemisin) 00:04:40 Dinosaur Therapy (James Stewart) 00:05:50 MaddAddam. MaddAddam #3 (Margaret Atwood( 00:09:30 Todo Dinokid (David Ramírez) 00:11:25 En compañía de los Forsyte. Crónicas de los Forsyte #6.5 (John Galsborthy) 00:13:30 La vieja y malvada bruja y sus aventuras (Ángela Porras-Lorzagirl) 00:15:25 Piel de hombre (Hubert & Zanzim) 00:18:40 Deberes: La librería del señor Livingstone (Mónica Gutiérrez) PELÍCULAS 00:21:50 Spiderman: no way home 00:27:30 Being the Ricardos (2021) 00:35:30 Encanto 00:38:15 Matrix Revolutions 00:40:40 Saw song (2021) 00:42:45 La casa de papel: de Tokio a Berlín 00:44:35 Belfast 00:48:20 Los traductores 00:51:00 No mires arriba 00:53:45 The french dispatch 00:55:550 West Side Story (2021) SERIES 01:00:45 This is pop 01:02:20 Reservation dogs (T1) 01:04:45 Hawkeye (T1) 01:08:30 The wheel of time (T1) 01:12:25 Todo lo otro (T1) 01:15:15 Celebrity Bake off (T1) 01:18:30 Love life (T2) 01:21:15 Dickinson (T3) 01:24:30 Insecure (T5) 01:27:10 DESPEDIDA En este programa suenan: Radical Opinion (Archers) / Siesta (Jahzzar) / Place on Fire (Creo) / I saw you on TV (Jahzzar) / Bicycle Waltz (Goodbye Kumiko)
Jenny asked previous podcast guests to chat about their top reads of the year, whether or not they were published in 2021. Jenny also chimes in with her own obscure categories. Please enjoy hearing from Tina, Tom, Lindy, Trish, Andrew, Kim, Jeff, Elizabeth, Audrey, Scott, Robin, Mina, Emily, Chris, Nadine, and Ross. Download or listen via this link: Reading Envy 236: Best Reads of 2021 Subscribe to the podcast via this link: FeedburnerOr subscribe via Apple Podcasts by clicking: SubscribeOr listen through TuneIn Or listen on Google Play Or listen via StitcherOr listen through Spotify Or listen through Google Podcasts Books discussed:(duplicates removed) Four Hundred Souls: A Community History of African America, 1619-2019 edited by Ibram x. Kendo and Keisha N. BlaineBroken Horses written and read by Brandi CarlileSeveral People are Typing by Calvin KasulkeWhen the Light of the World was Subdued edited by Joy HarjoBraiding Sweetgrass by Robin Wall KimmererThe Murderbot Diaries series by Martha WellsXeni by Rebekah WeatherspoonAct Your Age, Eve Brown by Talia HibbertThe Love Hypothesis by Ali HazelwoodAmerican Dreamer by Adriana Herrera, narrated by Sean ChristenFight Night by Miriam ToewsNervous Conditions trilogy by Tsitsi Dangarembga The Secret Lives of Church Ladies by Deeshaw Philyaw, read by Janina EdwardsExhalation: Stories by Ted ChiangSeasonal Quartet by Ali SmithHow to Be Both by Ali SmithMaddAddam trilogy by Margaret AtwoodBarkskins by Annie ProulxSigns for Lost Children by Sarah Moss Tidal Zone by Sarah MossLadivine by Marie Ndiaye To Cook a Bear by Mikael NiemiKindred by Octavia ButlerThe Heart's Invisible Furies by John BoyneThe Invisible Life of Addie LaRue by V.E. SchwabMexican Gothic by Sylvia Moreno-GarciaSummer Sons by Lee Mandelo Project Hail Mary by Andy Weir Hidden Wyndham: Life, Love, Letters by Amy BinnsChasing New Horizons: Inside the Epic First Mission to Pluto by Alan Stern and David GrinspoonDune by Frank HerbertOne Long River of Song by Bryan DoyleInk Knows No Borders: Poems of the Immigrant and Refugee Experience edited by Patrice Vecchione and Alyssa RaymondRazorblade Tears by S.A. CosbyBlacktop Wasteland by S.A. Cosby Sparrow Envy by J. Drew LanhamHome is not a Country by Safia ElhilloMoon of the Crusted Snow by Waubgeshig RiceCutting for Stone by Abraham VergheseWretchedness by Andrzej TichyThe Twilight Zone by Nona FernandezPeach Blossom Paradise by Ge FeiThe Love Songs of W.E.B. DuBois by Honoree JeffersSummer Brother by Jaap Robben; translateld by David DohertyNjal's Saga by AnonymousBrood by Jackie PollenNobody Ever Talks About Anything But the End: A Memoir by Lizi LevineNancy by Bruno Lloret; translated by Ellen JonesShadow King by Maaza MengisteShuggie Bain by Douglas StuartThe Overstory by Richard PowersCloud Cuckoo Land by Anthony DoerrCity of Brass by S.A. ChakrabortyThe Actual Star by Monica ByrneBewilderment by Richard PowersThe Galaxy and the Ground Within by Becky ChambersA Psalm for the Wild Built by Becky Chambers O Beautiful by Jung YunWhile Justice Sleeps by Stacey Abrams, narrated by Adenrele OjoShelter by Jung YunMy Dark Vanessa by Kate Elizabeth RussellLove and Saffron by Kim FayShadow Life by Hiromi Goto and Ann Xu Wake: The Hidden History of Women-Led Slave Revolts by Rebecca Hall and Hugo MartinezThe Chosen and the Beautiful by Nghi VoThe Seed Keeper by Diane WilsonOpen Water by Caleb Azumah NelsonGreat Circle by Maggie ShipsteadTelephone by Percival EverettWhen We Cease to Understand the World by Benjamín Labatut; translated by Adrian West; read by Adam Barr To Calais in Ordinary Time by James MeekThe Anarchy: The East India Company, Corporate Violence, and the Pillage of an Empire by William DalrympleA Spare Life by Lidija Dimkovska, translated by Christina E. KramerMud Sweeter than Honey: Voices of Communist Albania by Margo Rejmer, translated by Antonio Lloyd-JonesSovietistan: Travels in Turkmenistan, Kazakhstan, Tajikistan, Kyrgyzstan, and Uzbekistan by Erika Flatland, translated by Kari DicksonRelated episodes: Episode 046 - Books for Your Kitty Party (The Best of 2015) with Libby Young and many other guestsEpisode 075 - After the Year We've Had (Best of 2016)Episode 105 - Best Reads of 2017 Episode 139 - Stocking Stuffer (Best Reads of 2018) Episode 176 - Best of 2019Episode 209 - Best Reads of 2020Episode 210 - Reading Goals 2021Stalk me online:Jenny at GoodreadsJenny on TwitterJenny is @readingenvy on Instagram and Litsy All links to books are through Bookshop.org, where I am an affiliate. I wanted more money to go to the actual publishers and authors. I link to Amazon when a book is not listed with Bookshop.
Ben and Lexi reminisce about the quintessential coming of age movies of our youth - kind of. Dork You Forget About Me find Ben and Lexi looking back at classic 80's teen movies. Both Lexi and Ben struggled to fit in with humans and had to turn to movies to learn how to be a teen, which means watching copious amounts of John Hughes! In this episode, Ben and Lexi dork out about classic John Hughes movies, which holding them up to the test of time. Have these movies aged well? Listen now and find out! Show Notes:Lexi and Ben talked about the following movies:Uncle BuckThe Breakfast Club16 CandlesPretty in PinkHome AloneFootlooseWeird ScienceFerris Bueller's Day OffPump Up the VolumeCan't Hardly WaitAnd more!The full list of John Hughes movies can be found hereYou can find the episode of Art Intervention we mentioned hereWe talked about Margaret Atwood being a TERF and you can read about the 2018 conflict here and the more recent one hereSOCIALS:Here's where you can find us!Lexi's website and twitter and instagramBen's website and instagram and where to buy his book: Amazon.ca / Comixology / Ind!go / Renegade ArtsDork Matter's website(WIP) and twitter and instagramIf you're enjoying Dork Matters, we'd really appreciate a nice rating and review on Apple Podcasts, or wherever you get your pods. It would very much help us get this show to the other dorks out there.“We're all pretty bizarre. Some of us are just better at hiding it, that's all.” Transcript:Lexi 00:00One time I was driving to work and listening to like, you know, rap and I like aggressive hip hop, and I was listening--Ben 00:08[chuckles] Someday I'll ask you to define that, but not now.Lexi 00:12Okay, so, like, for example, I was listening to Run The Jewels one day, [Run The Jewels plays] which I wouldn't even classify as, like, super aggressive anyway, and I was trying to psych myself, like, "I gotta get in this building. I gotta be, like, in a good mood and talk to people all day," and so I was listening to it, fully cranked, and the windows were flexing, and I didn't realize there was just like a sea of children sitting there watching me, like, pound coffee, and try to, like, psych myself and, like, "Get out of the car, go inside," and it's just like, "Well, whoa, nope! Sorry, kids. I'm just gonna turn that off real quick". [music stops] I don't know what happened. [laughs]Ben 00:50I don't know how to get myself psyched up. When I worked in an office, I had about a 15- to 20-minute walk to work to, sort of like, just not be the person I normally am, and become work person. That didn't always work. I still a pretty grumpy shithead, usually. I don't like being bothered, and, you know, being in an office means you're just constantly bothered. It doesn't matter what you're trying to do.Lexi 01:15And you have to make small talk. Like, yuck. Ben 01:17Yeah, I had to learn how to do that. I've always been an introvert and making eye contact with people, when you have a conversation and just like... And so, I'm actually pretty good at just talking bullshit now with people. I don't like it. I don't like doing it. I don't like this other version of me is just talking to people, and I'm just like, "Eugh. Glad I'm not that guy."Lexi 01:36There are so many times where I'll finish doing, like, a presentation or having small talk with someone, and I'll go away and I'll be like, "Oh, she's terrible," and I'm referring to me. Like, I hate that part of me like, [upbeat] "Hey, how's it going?" I'm like, "Eugh! God."Ben 01:51Yeah. So that's an interesting thing with, like, being a stay-at-home parent now too, is like, I don't get to go to a different place and be a different person for a while, and divorce myself from who I think I am, versus the person I have to be in a work setting. Now, it's all just me, and it's all just gotta try to do well all the time. Lexi 02:11That sounds hard. Oh.Ben 02:13Can't phone it in like I used to when I'd go to the office. [laughs]Lexi 02:17Well, I mean, you could. You could just like plunk him in the laundry basket in front of the TV.Ben 02:21No. I mean, I'm incapable of doing that.Lexi 02:24That's good. That's good.Ben 02:25I am your Cyclops archetype. I am responsible to a fault. "No Fun Ben", I think, is what I used to be called.Lexi 02:33Oh, I was the old wet blanket. Ben 02:35You know, you guys would be like, "Let's go to a party and get drunk." I'm like, "I don't know about that. I gotta be home by 9 PM and, you know, we're underage." [laughs]Lexi 02:43I do remember being at a party at your place when you lived with Brandon, and in the middle of the party, you did start doing dishes. [Ben laughs] I remember, I was like, "Hmm, this is interesting."Ben 02:55They were stacking up. You gotta keep 'em clean. You gotta keep them clean. That's just respectful to other people.Lexi 03:00Fun is fun, guys, but come on. Like, clean up after yourselves.Ben 03:04"No, no. Y'all keep having fun. I'll clean the dishes." That's a nice thing for me to do. [laughs]Lexi 03:08I was the wet blanket in terms of like, you know, at the sleepovers, I'd go, "Oh, it's getting late, ladies. It's probably some shut-eye time."Ben 03:16Oh, god. You're lucky you didn't get Sharpied every time.Lexi 03:20Those people, I think maybe they were like, "Is she...? Is she, like, you know...? Should we be nice to her because she's not all there?"Ben 03:29"The same as us."Lexi 03:29Yeah. And sometimes I kind of wondered, like, "Did they think that I am maybe on the spectrum or something?" which I kind of wonder if I am sometimes.Ben 03:38God, I wonder all the time if I am, and I'm not trying to say that as a joke. Like, I constantly--Lexi 03:41No, no.Ben 03:43--wonder if my inability to connect with people is something neurodivergent.Lexi 03:49Oh, do you do-- okay, sometimes I'll watch people. I'll watch-- like, especially when it comes to women, and when I was a teenager, I would watch groups of girls interact, and I felt like I was watching, like, a nature program. Like, "Ah. That is how the female species puts on makeup," and it never made sense to me to like go up to them and be like, "Hey, gals, let's all put our makeup on together." I was just, like, so awkward that I didn't understand how to talk to them.Ben 04:18Yeah. The thing for me was that I was just always felt on outside, as well. Like, I never felt like I had a group of friends in any situation. Part of that was moving schools a lot. Part of that was never feeling like I connected with other individuals. So yeah. No, I definitely should probably figure out if I'm--Lexi 04:35But I think that that's a great thing that people are learning more about themselves at all times because sometimes, like, I'll talk to adults that are like, "Well, I probably have a learning disability and that would have made school a lot easier, but what's the point in finding out now?" I'm like, "Well, why wouldn't you?"Ben 04:51How would that make... Well and, like, record scratch. [scratching record DJ-style] How would that make school more easy for you? Would you have had maybe more support? Maybe, but maybe not. It depends on where you were, what kind of, like, financial supports the school had, what your parents believed. Like, you know, there's no reason to think, like, if you have a disability, you have it easy. That's a wild take.Lexi 05:11Yeah, I think you can... You're right. Like, it depends on where you are, that you can access different types of supports, but I think we're also moving towards a more inclusive education model in the old Canada, where you should be treating everybody... It's like, it's technically universal design for learning where everybody should benefit from like, you know, flexible due dates, and, like, more understanding progressive assessment practices, because, yeah, like if you do have a disability, and you need a little bit more support, that's great, but if you don't, you can still get support, too, and that's fine, too. Ben 05:49Yeah. Lexi 05:50But, ah, that's interesting. This is maybe a good, like, introduction, though, because as teenagers when we were watching, trying to learn how to be a teenager, you turn to movies to try to understand, like, how to fit in.Ben 06:05Right. So the question is, like, "Should we have ever even looked at those other groups and people and been like, 'I'm supposed to be that way?' Or was that something we were taught by John Hughes and his movies?"Lexi 06:18Oh, John Hughes. I'm so conflicted. Ben 06:21So we're here tonight, as you've certainly guessed, to talk about '80s teen movies. You know 'em. You love 'em. We are going to revisit our memories of those movies, talk about some things that don't really hold up, some things that do just fine, and some things that are problematic and it matters to dorks. Wow, that was rough. Lexi 06:47That was-- I won't lie about it. It wasn't your best.Ben 06:51No, let's hit the theme song and let's try again after. [Lexi laughs] [theme music "Dance" by YABRA plays] Ben 07:22Welcome to Dork Matters--Voiceover 07:24[echoing] Dork Matters.Ben 07:24--the show by and for dorks, made by dorks, in a tree of dorks. We're like little dork elves, Keebler elves that make you dork cookies.Lexi 07:34Oh, I like that. Ben 07:36Yeah.Lexi 07:36That's a nice little image.Ben 07:38Yeah. Lexi 07:39We grow on trees.Ben 07:40[chuckling] Yeah, or are we are inside of trees, baking tree.Lexi 07:44Yeah, 'cause we don't like the outside so much. Ben 07:46No, I'm not an outside person. [Lexi laughs] I am your Dad Dork host, Ben Rankel, and with me, as always is...Lexi 07:53Your Movie Buff Dork, Lexi Hunt.Ben 07:56Oh, wow. No alliteration at all. You're just flying--Lexi 07:59Nah, just gettin' right in there. You know what? Fuck it.Ben 08:03You are going to have to be the movie buff dork tonight. I have tried to bone up on our subject, and I'm like, "Good God, I need a week to prepare for this by rewatching every single teen movie from the '80s," because that's what we're here to talk about tonight, or today, or whenever you're listening to this. Time is a flat circle. [chuckles] We're here to talk about teen movies of the '80s.Lexi 08:26[sing-songy] I love this episode.Ben 08:30The good, the bad, the ugly, the ones that hold up really well, the ones that do not hold up. We're gonna just shoot the shit on teen movies 'cause that's what we do. Lexi 08:39Oh, yeah.Ben 08:40We're gonna get a bunch of shit wrong, as usual, and that's half the fun here.Lexi 08:44Can I start by saying, like, how many movies did John Hughes create? My god, that man was prolific. Ben 08:51Yeah. So it depends on if we wanna look at whether he directed it, or produced it, or whatever, but if we just go by Wikipedia filmography, let's count these out. 1, 2, 3, 4... (fast-forwarded counting) 38. 38 different films.Lexi 09:16And a lot of them, like, I didn't actually know that he did some of them. Some of them, of course, I was like, "I knew that one. That's a John Hughes," but, like, Maid in Manhattan? What?Ben 09:27Yeah. Flubber.Lexi 09:28He was part of Flubber.Ben 09:30He was part of Flubber. He produced Flubber. Yeah, all the Home Alone's, right up to Home Alone 4: Taking Back the House, that seminal classic. We watch it every year at Christmas. Not the earlier three Home Alone's, just Home Alone 4, the one everyone remembers.Lexi 09:47Yeah, the one that went straight to VHS release.Ben 09:50Yeah. I think, unfortunately, it was even DVD at that point. Just DVD. [Lexi groans]Lexi 09:55But then there's so many great ones too, that... Actually, I was talking to John about, you know, "What movies did you guys watch when you were growing up that we you would classify as a teen movie?" and he was more in the action side of the '80s and '90s movies, so he was like, "I can talk to you about The Rock. How do you feel about that?" But not so much... I think he said that they watched Breakfast Club in school, which I find incredible. Like, "Why did you watch that in school?!" Like, listening to it, there's so many messed-up things like Emilio Estevez talks about supergluing a guy's butt crack together. Like, "I know, and I'm going to show my grade nines today." [chuckles theatrically]Ben 10:38And that's one of the tamer things that happens in that film, like, that doesn't hold up. [Lexi laughs] I mean, we might as well get into it. Let's start with the seminal classic, The Breakfast Club with, you know, the greatest brat cast that you've ever seen. Everyone has seen this movie. We all know how it ends, that jumping fist pump in the air. [Simple Minds "Don't You (Forget About Me)" plays]Lexi 11:00You can hear the music right now, can't you?Ben 11:01[sings] Don't you forget about me.Lexi 11:03And I gotta say, best soundtrack. Ben 11:07[sings] Forget about you.Lexi 11:10[sings] Don't you... [speaks] I also like that like weird slide guitar. [sings descending glissando, imitating slide guitar] That's a great '80s sound right there.Ben 11:17[chuckling] I want you to do it again. [Lexi sings imitation along with slide guitar] Nice. Let's start a band.Lexi 11:23I can play the mouth trumpet. [laughs] And that's... Okay, that sounds really dirty, but it's actually like... [sings melody, buzzing lips] [laughs]Ben 11:29I can play the mouth harp, as well, as long as we're embarrassing ourselves. [Lexi laughs] [harmonica plays] That's right. I play harmonica, as if I couldn't get any loser-ier. That's a word.Lexi 11:37Hey, man, I played the clarinet in the old high-school band for many years. [clarinet plays basic melody] Ben 11:41I think I played clarinet at one point, too, in the band. Lexi 11:46It's a great instrument. So Breakfast Club, which is weird, because Sixteen Candles... Okay, let's let's go through--Ben 11:55I feel like Sixteen Candles is probably the greatest offender of any teen movie--Lexi 11:59Oh.Ben 11:59--we're gonna talk about.Lexi 12:00It's so bad. Yeah. Ben 12:03And, you know, everyone loves Breakfast Club. I feel like maybe Sixteen Candles is a little less watched, still. I mean, we can talk about 'em both, but let's turn to Breakfast Club, first. Let's talk about some of the fucked-up shit that you remember happening and see if it's all true. You guys let us know if we make up anything.Lexi 12:19I couldn't get over the fact that, first of all, I was like, "Who the hell has detention on the weekend?" Because that's more of a punishment to the teachers than anything. Like--Ben 12:29Yeah, that's not happening. Lexi 12:31And what parent would be like, "Yeah"? Parents would be like, "No, I'm not doing that." [laughs]Ben 12:37Yeah, "You wanna keep my kid half an hour after school, that's one thing."Lexi 12:42Like, "Go nuts." Ben 12:42But yeah, they're not coming in on a weekend." And what teacher wants to do that? Like, you're not getting paid for that. Is that extra-curricular at that point? [Lexi blows through lips]Lexi 12:50I think that there's just so many issues with detention as-- like, that's a whole other issue. But to, like, spend your weekend... I know they're trying to demonstrate that, like, the character of-- god, what is his name? The assistant principal who hauls everybody in. It just shows what a miserable git he is. But, eugh, to me, like, that, already, I was like, "This movie is just setting me up for"--Ben 13:15Principal Richard Vernon, who, like, already is a problem, because this guy just treats these children--Lexi 13:21He's so horrible.Ben 13:22--and they are children, just awful. Yeah, just like a way that he would have lost his job if it was nowadays. There's no way he keeps his job past that weekend. There's no way he keeps his job past, like, his first interaction with, I think, Emilio Estevez with the stupid devil horns and, like, [in devil voice] "the rest of your natural born..." That'd be on TikTok. In, like, five minutes, there'd be a whole crowd of people knocking down his doors. The school board trustees, they'd be like, "Nah, you don't have a job anymore."Lexi 13:46And, as well they should. Like, you can't... There's one part in the movie where Judd Nelson's character--Ben 13:53Bender.Lexi 13:54--is playing basketball in the gym, and he's like, "I'm thinking about going out for a scholarship," and that's such a great point that, like, he could have just been like, "Okay, let's play," and then like, look, you're building relationship and you're not being a complete d-bag. Then, like, get to know him! Just play basketball with him. It's, literally, a Saturday, and you're sitting in your office. You may as well.Ben 14:16Yeah. Instead, he yells at him, if I remember correctly, and tells him he's never going anywhere. Lexi 14:21Yeah, that he's a, you know, piece of trash. Just, you don't talk to people that way. It's terrible. So, it's so, just, offensive to... You should never treat anyone like that, and you should never, 100%, have teachers speaking to students that way. That's just unacceptable.Ben 14:38The movie is in the National Film Registry of the Library of Congress, for its culturally, historically, and aesthetically significant nature, so that's something that I didn't just read off of Wikipedia.Lexi 14:51I mean, it is a huge part of culture that, kind of, changed the way that we, you know, talk about things.Ben 14:57Do you remember where the movie's set?Lexi 15:00They're all kind of set in the same...Ben 15:03Middle America. Lexi 15:04Yeah, like a Michigan kind of place.Ben 15:08Michigan is what I would guess. I have no idea. I can't remember any more. It's a very white cast, as well, which is interesting.Lexi 15:15Oh, yeah.Ben 15:16Yeah, what are some other egregious issues that we have with that one?Lexi 15:19Well, I don't like the way that Claire, so Molly Ringwald's character, she is berated, harassed by Bender the entire movie. He's got his head between her legs at one point, because he's hiding, and, at the end of the movie, she, like, goes and makes out with him and they become, like, boyfriend and girlfriend because he's wearing her earring and, like, you don't reward, like, a guy that treats you like trash, a person that treats you like trash. They're not gonna change. [laughs]Ben 15:51Yeah. I, 100%, remember it seeming, sort of, weird that that was, like, his reward for having some sort of character redemption is that Molly Ringwald will date him. And that's supposed to be character growth for her, is that she's not so stuck up anymore, she'll date somebody who's... poor and abusive?Lexi 16:07I guess? Or that, like, she's pushing back against her parents or... Like, I didn't really care for that part as much. Ben 16:18Yeah. Lexi 16:18But then, like, then you've got Claire and Allison, at one point, doing, like, makeovers and Allison's the kind of the quiet one who's the artist and the freak who's-- she's choosing to be at the detention instead of being sent there, and so Claire gives her the makeover and, all of a sudden, she's She's All That-ed. She's pretty, and now Emilio Estevez's character, Andrew, is, like, into her. If it wasn't for a lame... Before, he didn't see her, but as soon as Molly Ringwald puts some makeup on her, and pulled her hair back, well, now Allison's a person. I just thought like, "Ugh, that sends the wrong message."Ben 16:55Yeah.Lexi 16:56But, as a teenager, you're like, "Oh, that's how I get the attention of a boy."Ben 17:01Yeah, "I've gotta conform to beauty standards that are set out for me." Yeah, it's not great. It doesn't hold up. It feels wrong nowadays. I mean, it's really difficult to watch and think anything positive of it anymore.Lexi 17:14[laughs] The soundtrack was good. Ben 17:16Yeah, the soundtrack was good. Lexi 17:17But then John and I are having a conversation about that, and he's like, "Yeah, but at the time, that's what was a successful movie, and so, how fair is it for us to judge something from the past by today's standards?" Like, "Well, it's a difficult one. Like--"Ben 17:33Absolutely. Lexi 17:34I think we have to.Ben 17:36I mean, yeah, and also, like, what does that really mean, the idea of fair? Like, I mean, it feels sort of like the wrong question to apply to, sort of, reexamining past media. Like, you don't get a pass just because it was from the past.Lexi 17:54Yeah, there you go.Ben 17:55And the whole point of looking at something from the future is to reanalyze it from the scope that we have now. Like, you can do that and still acknowledge that, at the time, that general awareness of these sorts of things wasn't what it is now, but that's not really the point, I guess, is what I'm getting at.Lexi 18:12I can understand the criticism of like, yeah, you know, it's a questionable movie, but at the time, it was very progressive. And even now, like, I'm sure there are some TV shows, movies, books, whatever, that we think are pretty progressive that, in the future, people have problems with, but that's the point. Like, if we're all staying the exact same, that's the issue. Could we not be able to move forward, and then look back and be like, "Eugh. I shouldn't have done that"? Let's have a conversation about it.Ben 18:37I think the world and where it existed, and when it was made, is not where we are now. Like, that's not really the point. So Breakfast Club, like, none of these movies are really going to hold up to every standard that we have nowadays.Lexi 18:47No, it's impossible.Ben 18:48The bigger question is like, "Can I still enjoy this media the same way?" And you can't, especially... I mean, I don't think this movie, you can really... Like, I can watch it. I could enjoy parts of it, I suppose, but I don't know. I don't know if I really even would try to rewatch this movie. It used to come on TBS a lot, so we didn't have much of a choice, but...Lexi 19:10Yeah, I think now I would fast forward through a lot of it. Ben 19:14Yeah, I can't see myself going back to rewatch this, unlike a movie like "Footloose", which I still think is a fun watch. Same era, same sort of idea. There's a lot going on in that movie, too that's kind of effed up. Like, I think the main character, whose name I cannot remember, but it's Kevin Bacon, he moves to the small town where dancing and music is outlawed, and the girl that he falls for, her dad's abusive, her boyfriend's abusive, but I think, at one point, her boyfriend actually just punches her, and I'm just like, "Why would even?" Like, [sighs] in that sense, they're not trying to glorify that behavior necessarily, but it's... Yeah, so that's the interesting thing. Maybe that's what you gotta look at is the depiction of the thing in the movie something thing that they're doing as a "We're not thinking critically about this because that's the era we're from," or are they presenting it in that era, but they're saying, "This isn't a thing that should be happening," and that's a tough one. I can't remember that movie well enough. But I still like the dancin'.Lexi 20:17You like the dancin' part of it, hey?Ben 20:19Yep. Kevin Bacon, finally, in 2013, I think, admitted that he had a dance double for parts of that, but he did a lot of the dancing himself, he said.Lexi 20:28Did we not know that? I thought that that was widely accepted.Ben 20:32I don't know. It was just a thing I remember reading a while back, but yeah. Yeah. I don't know. I feel like, that movie, I could rewatch again. I feel like it's worth going back for the dancing. I don't know what would bring me back to Breakfast Club, aside from the soundtrack, which I can just listen to on my own.Lexi 20:46Yeah, I would just listen to the s... Like, if it was on the TV.Ben 20:50I guess I like Emilio Estevez. I like Molly Ringwald. Like--Lexi 20:53Then watch "Mighty Ducks", Ben. Ben 20:55Yeah, and that's what I do. We're gonna have to do an episode on "The Mighty Ducks". I love "The Mighty Ducks: Game Changers" on Disney+. Lexi 21:02Oh, there you go. Yes. Ben 21:04Disney+ isn't sponsoring our show, but if they want to. [Lexi laughs] I like "Game Changers". It's a little weird. It's a little bit--Lexi 21:13I can't say that I've watched it, but, you know, I'll take a look-see.Ben 21:17Yeah. Oh, are we gonna do a "Dawson's Creek" episode or teen TV dramas of the 2000s? And those are-- a lot of those are trash but, like--Lexi 21:26Yes.Ben 21:26Yeah.Lexi 21:27I could talk about those, just "Smallville". Oh, my god. We need to talk about "Buffy". What are we doing, here?Ben 21:32That's an interesting one, like, 'cause, you know, 'cause you have to deal with the Joss Whedon. I call him Josh now. He lost his privilege at two "s"-es.Lexi 21:41You know, you strike an "s" off the name. Okay. We have to talk about Sixteen Candles, though, because it is the worst.Ben 21:50The worst. There is nothing--Lexi 21:53I think that a couple come close. Ben 21:55I could rewatch Breakfast Club, yeah. Like, I could re-watch Breakfast Club. There's a lot I don't like about it, and a lot that doesn't hold up, a lot of analysis of, sort of like, teen issues that doesn't really feel like it really got it, but I could rewatch it. I will not re-watch Sixteen Candles. I mean, give us a rundown. Give us the point-by-point. What's wrong with Sixteen Candles, aside from everything?Lexi 22:17If you've never watched Sixteen Candles before, don't. I will just run through it really quick. Basically, it's a party movie. Sam, play by Molly Ringwald, it's her birthday. It's her 16th birthday, but her entire family has basically forgotten, and she's really pissed off about the whole thing, so she's a real b-word all day at school. Meanwhile, she has this huge crush on this guy Jake Ryan who's, like, the quintessential hot dude of the school. Ben 22:42The perfect dude. Yeah.Lexi 22:44And, like, everyone of their little friend group is just like, "No, he's got such a hot girlfriend." They even show her showering naked in the girls' change room to really hammer home the fact that this lady is like a full-blown babe.Ben 22:59Wait. I do not remember this part of the movie. There's a naked scene of Molly Ringworld as a teenager?Lexi 23:06Yeah. Not Molly Ringwald. It was the girlfriend.Ben 23:08Oh, I'm sorry. I missed that. Lexi 23:10Molly Ringwald and her creepy friend... It's so creepy. They're leering and watching her shower because Molly Ringwald is comparing her chest to Jake Ryan's girlfriend to be like, "Oh, she's such a... She's a woman and I'm a girl. Why would he ever pay attention to me?" because boobs are the only thing that matter, apparently. Ben 23:10Mm.Lexi 23:30And then, meanwhile, so at the same time, Sam, Molly Ringwald, her grandparents come to her house, and they bring their foreign exchange student.Ben 23:41No. We can't even get into the foreign exchange student. It's so bad.Lexi 23:45It's so bad. I'm not even gonna. Like, you can go look it up. I'm not gonna say his name because it makes me feel uncomfortable, if I'm honest, but it's like a derogatory name that is just, like, it's just so offensive, and every time he's--Ben 23:58It's intended to mimic what white people make as sounds when they try to, you know, do Asian voices or language, and it's just a continuous shit show of racism.Lexi 24:12Oh, Ben, every time the character is on the screen, a gong sounds.Ben 24:15Yeah, I remember that part.Lexi 24:16Like, oh. [groans frustratedly] So then, Sam goes to the dance because she still has a thing for Jake, and she has to bring people with her, and now enter Michael C. Hall.Ben 24:17Oh, he's Ducky, right?Lexi 24:31And his creepy little character because... No, that's "Pretty In Pink". Come on. Jesus Christ, Lexi. Get your shit together.Ben 24:39Oh, god. I'm mixing up movies. Well, I'm sorry that all good John Hughes movies start to blend together after a while. [Lexi laughs] Sorry, I can't specify which Molly Ringwald film we're talking about. She wears the same thing in every movie, too.Lexi 24:51No. She... Ben 24:52She looks exactly the same.Lexi 24:53She... Well, yeah, that's good.Ben 24:54I'm pretty sure she's in a pink dress in every movie.Lexi 24:56Okay, I will accept that. Anthony Michael Hall's character is Ted, and they refer to him as "Farmer Ted" the entire movie, which I don't really understand why that's the thing.Ben 25:06Oh, he's the one that gets sent home with what's-her-face? Lexi 25:09Yes. Ben 25:10Right? When she's drunk, and he, basically...Lexi 25:11Yeah, right?Ben 25:13It's a date rape situation. How fun. Lexi 25:15Well, and first, like, he won't leave Sam alone at the dance. He keeps following her around, won't take no for an answer, and she basically has to barter with him to piss off by giving him her panties. So... And then he pretends that he like got them, however, and is cheered on by, like, a full bathroom full of dorks-- not our people-- but then this devolves into a party at Jake's house. Everybody kind of winds up at this Jake's house party, where Jake's girlfriend is drunk and kind of an asshole. He kicks them all out and gives Ted the keys to his car, and his passed-out girlfriend in the backseat, and long story short, he winds up making out with her when she comes to, eventually.Ben 25:59Yeah, I remember that.Lexi 26:00And, when she asks, "Did you take advantage of me?" and he said, "No," and she was like, "Cool." [laughs] Like, what?!Ben 26:08Wait. Don't they actually end up, like, doing it in that movie? And neither of them remember it, or am I thinking of another movie again?Lexi 26:15It could. You know what? Ben 26:16Remember that they, like--Lexi 26:17I haven't seen it in a while.Ben 26:18"I don't remember if we did it or not," and then they're both like, "Yeah, we did it," and it's like, that's supposed to be cool or something, and I'm like-- and, like, a virtuous moments where--Lexi 26:24That does sound about right. Ben 26:25Yeah, I remember throwing up. Like, I don't think that movie even sat well with me in the '90s when I was a teen, seeing it for the first time. I was like...Lexi 26:32[whispers] No.Ben 26:34"..eugh." Yeah, Sixteen Candles is gross. What else? Is there anything else gross about Sixteen Candles that we need to mention before we move on? Don't rewatch Sixteen Candles. It's no good.Lexi 26:42Don't. Well, it ends with Sam getting Jake and he gets her a birthday cake, and, you know, it's this beautiful moment between the two of them, but it's just like, she spent the entire movie comparing herself to other people, about how she was shit and not good enough for him, and he spends the entire movie pissed off at the world that he lives in because he's, like, this wealthy, white dude with a dumb girlfriend, and he's brutal to her. Like, he's really mean to his girlfriend, like, sends her off to be, like, you know, ravaged by some stranger.Ben 27:15Yeah. He sends her off to get raped. Lexi 27:17Yeah. And then it's like, "Okay, movie over." Ben 27:19Yeah, and I remember him also saying like, a bunch of really crass shit to her before, because she's drunk, and being like, "I could abuse you all I want if I wanted to. Yeah, it's super fucked-up and that's supposed to be a virtue for this guy--Lexi 27:31Yeah, he's the good one.Ben 27:32--that he looks down on her for being drunk.Lexi 27:34Oh.Ben 27:35Yeah. Fuckin' dumpster fire movie, and so this is why, like, people, you bring these up and they'll be like, "I fucking hate Ron Hughes." Yeah, Ron Hughes. I don't know who that is, but I hate him, too, just for sounding like John Hughes. [Lexi laughs] Fuck you, Ron.Lexi 27:50But, I think it's also like, the genre of, like, rom coms. Like, eugh. This is where it's kind of like stemmed from some of these teen movies . People think, "Like, this is maybe like the norm?" Like, "No, it isn't. This isn't good."Ben 28:04What's next on our on our shit shower?Lexi 28:07"Weird Science".Ben 28:09Are we doing "Pretty in Pink" at some point?Lexi 28:11"Pretty in Pink", technically, comes after "Weird Science". "Weird Science" was released in 1985.Ben 28:16Oh, we're doing these chronologically? Okay, my bad. Okay, "Weird Science" it is. So like, are we even gonna find teen... Like, John Hughes defined this era and defined what it meant to be a teen in this era, so I guess we may not get away from his movies. I mean, "Footloose" wasn't one of his, so that was good, but that's wild. It's basically just a John Hughes shit episode. Fuck you, John Hughes.Lexi 28:37But, no. I've got some redeeming ones.Ben 28:40And your brother, Ron. From John Hughes? I don't agree.Lexi 28:44I've got one. I got a couple that I'm gonna fight for, saying they're good.Ben 28:47What? Okay, you're gonna have to try real hard to make me like john Hughes in any capacity. "Weird Science", let's just get the premise out of the way. These two losers decide that they're going to robo-code their-- I'm just gonna use fake science words 'cause that's what they do in this movie-- they're gonna robo-code their digi-ideal woman and build her to be perfect and subservient to them. The whole premise is fucked up and weird and gross, and then, through the magic of--Lexi 29:11Yeah, the magic of science.Ben 29:12--science, I don't know, this woman comes true. She's there. Suddenly, they built her, and they can do anything they want with their new robo-girl or whatever. [Lexi sighs] Lexi 29:24And... [groans].Ben 29:25The only thing that's redeeming is a nice title song written by Oingo Boingo, the new-wave band from the '80s.Lexi 29:32Ah, Oingo Boingo. Yep. I know that it was this whole, you know, the dorks or the geeks strike back where like Revenge of the Nerds and that was also another popular problematic movie of the era, of just, like, dorks who aren't... You know, it's basically like these, the nice guys, the incels.Ben 29:52Incels.Lexi 29:53They can't get-- no girls will pay attention to them 'cause they're not popular jocks. Wah, wah, wah. So what we're gonna do--Ben 29:59No, this is great. I like this line we're riding. I like this. This is, we are what's-his-face from It's Always Sunny.Lexi 30:07Dennis?Ben 30:08No. Not Dennis. We're not Dennis. Nobody's Dennis. Dennis is a sociopath. Lexi 30:11I was gonna say.Ben 30:12Ferris Bueller is Dennis. Lexi 30:13He's a serial killer. Ben 30:15Well, that's--Lexi 30:16Mac?Ben 30:16No, not Mac. Goddamn. Charlie.Lexi 30:18Charlie?Ben 30:19We're Charlie at the wall with the line, and we have just gone from John Hughes movies to the nice-guy phenomenon, and then straight on past that to the incel, the current incel disgusting thing that we have going on. Lexi 30:35Well, all of like...Ben 30:36It's all Ron and John Hughes' fault.Lexi 30:39Anthony Michael Hall basically played an incel [chuckling] for, like, his entire teenage youth--Ben 30:46God.Lexi 30:46--of the best friend who's just waiting around. "When's it gonna be his turn, gosh darn it?" because that's what it takes.Ben 30:52Yeah, and if I put in enough, you know, "nice coins" into the Woman Gashapon I will get the sex prize in the little ball. Lexi 31:00Exactly. Ben 31:01Yeah, I mean, fuck, as a white male, this is the kind of shit that I was taught, too. Like, I had some very strong, and I mean that as in of character, women, who... I mean, I could have been a very shitty person if I didn't have people that were better than me that helped me learn to be better. That should have been the responsibility but, like, "Thanks for being in my life to help me not end up like these fuckers." 'Cause I didn't get that from, like, my upbringing and, like, watching this kind of bullshit, or from, like, my religious upbringing. You definitely were taught that, like, the idea was that you put those wonderful little friendship points in, and eventually, you're gonna get what you want back out of it, which is not a relationship with another human being. It's vagina. Lexi 31:46Yeah, they just, the pure physical nature of it. But then, if we can move on to Pretty In Pink, which I think Ducky is the worst character for that, is the most blatant character for that. I mean, like, he's--Ben 32:01Oh, yeah. He's nice guy.Lexi 32:02[groans] He is so horrible, such a, like, you know, kickin' rocks and, "Aw, gee, when's it gonna be my time? Nobody loves you like I love you," like, gaslighting Molly Ringwald's character.Ben 32:15Unrequited love sort of thing is supposed to be, like, romantic, as opposed to creepy.Lexi 32:20Well, and speaking of creepy, then James Spader's creep-ass character is even worse because he's the king gaslighter of pretending to absolutely hate Molly Ringwald's character, Andie, but then, secretly is like trying to get with her and like, "Yeah, there it is. There's the douchebag," and I did know guys like that in high school that would pretend, "Oh, we don't talk when we're at school, but then I'll message you on MSN later tonight."Ben 32:48Yeah, I mean, this this is where I get ranty because this leads me into one of my hot topics and also not a sponsor of the show. [Lexi laughs] Wish they were. Do they still exist?Lexi 33:01Yeah, they do. There's one at Market Mall.Ben 33:04Yeah, you can get, like, records from them, and film. They're the only place that sell record players and film anymore. Lexi 33:09[laughing] Yep. Ben 33:10But this is one of, like, things that gets me kind of passionate is that, when this kind of subject comes up, men get mad at people pointing it out, white males specifically get mad at people pointing out that, like, this was sort of the culture that we were steeped in, what we were built to be like. I feel like men should be super fucking angry that this is what society tried to turn us into, did turn us into. Like, but instead, we double down on this shit. We get mad. We try to defend it. We try to defend that like "culture", but like, we should be fucking pissed all the time about what society, what our society, patriarchal and you know, colonial as it is, like, what it tried, and tries, and continues to try to turn white men into. Like, but dudes just don't get pissed at that. For some reason, they just can't. They can't find that, and it makes me mad on a daily basis. I see myself as, sort of like, this robot that was built by, you know, these fucking people to do this thing, and it makes me mad every day that I almost didn't have a fair shot at being like a normal-ish human being that could treat people with empathy and kindness because of this kind of media, of this kind of culture, this pervasiveness, and yeah, fuck it. It just gets me that other dudes, you know, aren't just constantly pissed off about this.Lexi 34:27Well, when you talk about, like, systemic racism, and lots of people are like, "There's no such thing ," which is bullshit--Ben 34:32Yes. [along with dancehall airhorn] B-b-b-bullshit. Sorry. I hadn't gotten one of those in in a few episodes.Lexi 34:36That's all good. We've gotta have one of those per episode. I feel like these, like, not necessarily these ones but movies like these, this is a part of it, of just like keeping everybody in their place, and telling everybody what role. "You sit on that chair over there. You wear that type of T-shirt." Like, this is-- and even like looking at the '90s movies, it's just as bad because now we have like--Ben 34:59Oh no. Yeah, definitely.Lexi 35:00It's just as bad, and even now, I was thinking like, "What are the current teen movies?" They're not that different, really.Ben 35:08I don't really know. Well, no, 'cause I guess it's still the same machine, and the same systemic system. [laughs] The same systemic system that's still turning this shit out. It hasn't-- like, the decision makers, the money and stuff, are all of a certain, I don't know, persuasion, ilk, build, and so that hasn't changed, so why would the content change? You know, there might be veneers put on things from people at certain parts of the process, but the assembly line is still largely the same and has the same intent. The blueprints haven't changed.Lexi 35:41You know--Ben 35:42Have I mixed my metaphor enough?Lexi 35:45You got a little... They're good. Ben 35:46Yeah. Lexi 35:47Like, just so thinking of the other podcast, "Art Intervention", there was one episode where I found out a lot of research about why the art industry, especially, like, art galleries, and museums, are so white, and one article I found was talking about, they're super white because those types of institutions, typically, they don't have a lot of government support. They don't have any, like, you know, public money coming in that's really keeping the lights on, so you really have to rely on the private sector for donations, and, unfortunately, a lot of the wealthy patrons for a lot of these big, big institutions are, largely, white patrons, and they don't wanna feel uncomfortable, and they don't wanna feel like--Ben 36:38No. It always comes with strings.Lexi 36:40It's always coming with strings, and so they don't want you to be bringing in an artist who is calling out the white patriarchy of the art society. They want someone who's gonna like, you know, ruffle a little feathers, but not be too, you know, radical, and so it's creating this industry that is perpetually keeping people in their place and keeping the dialogue moving along, and I think, like, some institutions are getting a little bit better, but it is a huge problem in the arts, and a lot of times people are like, "Oh, but the arts are... You know there's so many black actors that are very famous," and there's'--Ben 37:19What does that even mean? Lexi 37:21Exactly. Like, it's still an industry and it still has a lot of problems, and I think we're just scratching the surface on the whole like #MeToo" Harvey Weinstein thing, and even the fact that, like, #MeToo was appropriated from a black woman who had been talking about it for years, and all it took was, like, a couple white actresses to be like, "Yeah, I've had similar experiences," and pfff, it blows up. Ben 37:44Yeah. What was that shitty joke, where, like, the white dude is like, "Oh, if I was in charge of equality, you know, we wouldn't need feminism anymore," or something. Or like, "If I was in charge of feminism, we'd all have equality by now," something like that.Lexi 38:03That's a great joke.Ben 38:04The idea is that the joke is in the idea of this guy saying that he could fix a problem that he is the creator of, or part of the system. [Lexi laughs] There's the joke. You're supposed to laugh at the premise of the guy.Lexi 38:17It's so sad, though. Like, "Yeah. There it is."Ben 38:21[Lexi laughs] Speaking of sociopathic white males, let's hit Ferris Bueller. [along with dancehall airhorn] B-B-B-Bueller. Lexi 38:28[along with Yello's song, "Oh Yeah"] Oh, yeah. Bom-bom. Chik-a-chik-a!Ben 38:31I mean... [along with Yello's song, "Oh Yeah"] Oh yeah. Bom-bom. So that basically--Lexi 38:36[along with Yello's song, "Oh Yeah"] Bom. Oh.Ben 38:38That's enough right there. Really, like Ferris Bueller is a sociopath. He manipulates everyone. He can't empathize with other people's feelings. He manipulates his friends into doing things because he thinks it's for their own good. Like, he gets to decide what's best for Cameron. He gets to decide how Cameron deals with his emotionally-abusive parents or like, "Oh, steal the car." Eugh, but, like, Ferris Bueller is just a smug piece of shit, and, you know, Matthew Broderick, I like you enough, but you're much better in Godzilla 2000. [Yello song "Oh Yeah" continues]Lexi 39:06I think the real hero of that movie is Jennifer Grey's character, Jeanie Bueller. Jeanie is the true-- 'cause she's the only one that sees him other than Ed Rooney, Jeffrey Jones. She's the only one that sees him for his bullshit, but she sees it, more or less, like a sister just wanting to rub her brother's face and like, "You're not all that. How about that, kid?" Like, it's more she just wants to prove him wrong, not ruin his life, like Ed Rooney, but she's trying so hard the entire movie to get people to, like, see through his bullshit, and I always felt really bad for her because I was like, "Yeah, he shouldn't be doing all those things." [Yello song "Oh Yeah" continues]Ben 39:49Yeah, he's a terrible character. Yeah, that movie. You know, you've got Ben Stein in there as well, and he hasn't held out well. He's aged poorly, as far as he--Lexi 39:51Has he?Ben 39:52His movies are pretty, pretty shitty. He's a pretty smug asshole most of the time and very-- [Lexi sighs]Lexi 40:11Well, I mean, same with Jeffrey Jones, hey? [Yello song "Oh Yeah" continues]Ben 40:14Oh yes, I know what happened to him. We don't need to discuss that. That's just such a--Lexi 40:17 Yeah, that's--Ben 40:18A disgusting human being, so we're better off--Lexi 40:20There's a couple, like, Charlie Sheen, like that's--Ben 40:23Who, Charlie Sheen was in that?Lexi 40:25Yeah, he's the creepy dude that's hitting on Jeanie in the police station when he's like, "Why do you care so much about what your brother does?"Ben 40:32Oh man, now I remember that.Lexi 40:33He's the one that kind of like helps her, right?Ben 40:35Yeah, yeah. [Yello song "Oh Yeah" continues]Lexi 40:40Controversy comes from us all, Ben.Ben 40:41"Just be more like Charlie Sheen," is a thing that nobody should say. [laughs]Lexi 40:44No. Be more like Jennifer Grey is what I think.Ben 40:49Like, the actor or the character?Lexi 40:53Eh, the character in this one.Ben 40:53I don't know anything about the actor.Lexi 40:56Neither do I. I hope that she's not... I hope that no one is, like, actually.Ben 41:01Do we have anything that can bring us back? Like, we need some redeemable teen movies. I had a little bit of being like Footloose could be fun still. Are there ones we can watch? I've got one more that I sort of like.Lexi 41:11Oh, I've got one I love. Ben 41:12I'll do mine. You're more passionate. I'll do mine first. It's called... [laughing] Oh, god now I'm blanking on the name. Lexi 41:20Uh-oh. [laughs]Ben 41:21It's with Christian Slater, and he is a, like, pirate radio host. Pump Up the Volume. Lexi 41:28Okay.Ben 41:28So, there's some stuff that doesn't do it for me, which is sort of that, like, white suburban kid ennui that you see in, like, the '90s. It's technically a 1990 movie, but it was produced... That's when it was released, so it was produced in the '80s. So it's got a lot of that, sort of like, white teen ennui that we see in the '90s a lot with, like, the navel gazing and, like, "Let's just, you know, not worry about anything except our white privilege problems." So there's a little bit of that, but there's also a lot of like, sort of challenging the way that kids' problems are sort of downplayed by adults, or like, they're tried to be brushed aside when, like, you know, kids are actually suffering with problems. One of the things is a student kills himself and, like, that's sort of an impetus for the main characters to sort of go on and speak out about what's happening and tell the other students not to be quiet and to, like, live their, like... "Talk hard," is his line in the movie. Talk hard and, like, say the things that are a problem for you, and not hold them back, so I feel like I could rewatch that one again. I feel like it probably is watchable. He gets arrested at the end for his pirate radio, which is just such a great idea, a pirate radio, broadcasting illegally on the FM channel. Fuck, can you do that? I wanna broadcast illegally on an FM channel.Lexi 42:52I think it is something that's elite. Like, you have to be allowed to do it.Ben 42:56Yeah, I mean, I just don't even know anybody who'd be interested. Why do that when you can make a podcast? [both laugh] Yeah, I guess, you know, somebody would still have to tune to your pirate radio frequency, so... [chuckles]Lexi 43:11They'd find you.Ben 43:12Yeah. So the villain of the movie or whatever, is like the FCC comes to find Christian Slater's character and shut down his pirate radio.Lexi 43:21The FCC won't let him be.Ben 43:23Yeah, the FCC won't let him be. [laughs] Lexi 43:26Thank you. Thank you for that.Ben 43:27You're welcome. Thank you. I don't know what you're thinking me. You did it. That's great.Lexi 43:31I always like a good laugh, Ben. You know? Ben 43:33Yeah. I think yeah, give Pump Up the Volume a watch if you haven't. I haven't watched it in a while. I should re-watch it, but let us know if I'm wrong about that, and if it's a total trash fire, as well.Lexi 43:44I'm going to end this with a bang, Ben, because I'm gonna explain to you the greatest coming-of-age movie of the John Hughes-era is Uncle Buck.Ben 43:48Okay, so here's my thing with Uncle Buck. Is it a teen movie, though? Lexi 43:58Yes.Ben 43:59You think?Lexi 44:00I think so. I watched it all-- I watched it with my mom, and then I watched it with my friends when I was, like, 15, and I've watched it many times since because, I don't know. It was about, like, to me, it was about connecting with an adult in your life.Ben 44:16That's interesting. I appreciate that take. I guess I just find, like, the centering of John Candy as the main role in that, sort of, takes it away from being a teen movie for me.Lexi 44:24But that's why I think it's key because teenagers are so stuck in their own bubble, that it's hard to see your angst when you're living in it, and I think that was the reason my mom made me watch it.Ben 44:35Oh, interesting. So you were saying, like, the point-of-view character being the adult but having the show and the content geared at a teen gives you some outside of your own situation-ness, some self-awareness.Lexi 44:47Yeah.Lexi 44:48'Cause, see, like his... Oh, gosh, the... bup, bup, bup... Tia, so Tia is 15 and she's the oldest of the three kids and she's like, if you've never seen the movie, she's a cow. Like, the entire movie, she's just being an asshole for no purpose.Ben 44:48Interesting.Ben 45:06No, I've seen it a number of times.Lexi 45:09I watch it every Christmas. That is my Home Alone. Ben 45:11It's been a while, though.Lexi 45:13And it's just because she's so brutal, and then John Candy's character comes in and, you know, she's got a couple of lines that she says that are just horrible, so, so mean and callous, and then, she treats her family like garbage. She winds up shacking up with a dude who's trying to take advantage of her, and I think that this is really key, and a lot of people should watch it that if you are a 15, 16, 17 year old, and you are dating someone who is older than you, it is not an equal relationship. I'm sorry. It just isn't. And that's something that, like, when I was a teenager, I was like, "I can take care of myself," and so many times, like, yeah, to a point and then you pass a line, and then it gets real tricky, and what I like about that is, even though she treated people poorly, like, John Candy came to her rescue and supported her, and helped her to take her power back from this douchebag who tried to hurt her.Ben 46:12Right. So, in a typical John Hughes movie, we'd see her get a come-uppance of some sort of degradation or sexual assault as, sort of, the character arc. Like, "Oh, that'll teach you to be a b-word, though. You got what was coming to you. Haha." But that doesn't happen in this film. Interesting.Lexi 46:29Well, it kinda... Like, it almost does. Like, her boyfriend tries to pressure her into having sex. She's not ready so she leaves the party, and he does, like, make fun of her, and then, John Candy comes and finds her walking away from the party and, you know, she's embarrassed and whatever, and then he basically kidnaps the boyfriend in the back of the car, and then they hit golf balls at him to really, like... [laughs]Ben 46:53Sounds good to me. I'm fine with that.Lexi 46:56I don't know. Like, it's still you're right. Like, she's still like, there's that, like, "Haha, you were almost, like, you know, taken advantage of."Ben 47:02"That will show you."Lexi 47:02"That's what you get for being a little bag," but I just feel like, of those movies, this is probably the one that has, like, aged the best because even John Candy's character is so flawed. Ben 47:15Yeah, yeah.Lexi 47:16And it shows, like, all these redeeming qualities about him.Ben 47:18Yeah. I mean, that sounds like a good synopsis to me. I'd rewatch that. I'll give it a shot. And you all should give that a shot too, see what you think, see if there's some aspects of that film that we forgot that maybe cause it to bump off a little bit, although it sounds like Lexi watches it pretty regularly, so she knows what's up.Lexi 47:38I'm gonna be really sad if someone out there is like, "But, did you forget about the scene?" Because probably.Ben 47:43Maybe, but you know, that's just an opportunity. Yeah, this is an opportunity to appreciate what happened there, and, you know, that doesn't mean you have to stop watching Uncle Buck. It just means we have to somehow create a 15-minute episode addendum to this that people are forced to listen to that, "Okay, so there's this part in the movie and we have to talk about it where things go blah blah, blah." Yeah, I have to imagine that we'll end up doing a lot of retraction or correction episodes. Maybe that should be just a fun off-week thing we do. We do, you know, corrections and just 15-minute episodes every other week when we're not on our regular schedule. "So here's some shit we got wrong last week," and we just list it.Lexi 48:27Yeah. Just, "Sorry about this. Sorry about the following things."Ben 48:30"Said this. Didn't mean to."Lexi 48:32Ben, we haven't done Who's That Pokémon? yet.Ben 48:35Oh, fuck. Let's do Who's That Pokémon? here. I think we've got another little ways to go. We should do a wrap up, but let's do a Who's That Pokémon? Is it your turn again to come up with the Pokémon?Lexi 48:46Well, I've done many. I'm happy to keep explaining wet bags of sand to you, but do you wanna take a crack at Who's That Pokémon?Ben 48:52I didn't come up with one, so it'll be on the fly. Yeah.Lexi 48:54Oh, do it.Ben 48:54I'll do it unless you have one prepared. Lexi 48:56No, no, no. Ben 48:57Okay. Okay, [along with "Who's That Pokémon" theme music] Who's that Pokémon? and I will describe now the Pokémon with which you need to guess. Lexi 49:06Excellent. Ben 49:07It's sort of like a pitcher.Lexi 49:09Okay.Ben 49:11Imagine an upside-down... No, right-way-up, like a pitcher as in, like, a vase. Not a--Lexi 49:18Okay, like, like a pitcher of lemonade. Ben 49:20Yeah, yeah, yeah. Then there's, like, some sort of leaves coming off, leaf-shaped protrusions, one on each side of this pitcher.Lexi 49:30Oh, my god.Ben 49:30And then there's also some sort of circular balls atop the pitcher.Lexi 49:35Are you explaining an actual Pokémon to me or is this like a...?Ben 49:38Yeah, yeah.Lexi 49:39It's an actual Pokémon! Oh, I thought we were being cheeky here and--Ben 49:43No. It's time for us to break out our--Lexi 49:45Anthony Michael Hall. [Ben laughs]Ben 49:47Oh shit. That's not bad. Lexi 49:48Oh, I gotta remember.Ben 49:49I'll change it. It's no longer Victreebel. It's Anthony Michael Hall. You got it. [Lexi laughs] [along with "Who's That Pokémon" theme music] Who's that Pokémon? [Lexi laughs]Lexi 49:59It's Anthony Michael Hall. Ben 50:00I'm gonna Google you a picture. [scratching record, DJ-style]Lexi 50:03Oh, Victreebel. Ben 50:04Yes. It was a real Pokémon.Lexi 50:05Damn it.Ben 50:06I think if I ever do them, they'll probably be real Pokémon.Lexi 50:09We still have to do a Pokémon episode.Ben 50:11It'd be interesting to talk to Mr. Hall and ask him how he feels about his part in the rise of incels.Lexi 50:18I'm sure he probably doesn't see it that way. [laughs]Ben 50:21I don't think many people do, as a child actor. I'm sure there's a lot more going on. I am being glib for the sake of humor.Lexi 50:27Hey, Ben, he had a redeeming role in Edward Scissorhands, where he dies.Ben 50:31He had a lot of good TV roles.Lexi 50:34Yeah, he has. He's had a very big career.Ben 50:37Mm-hmm. This is now the Anthony Michael Hall podcast, where we just talk about--Lexi 50:42Dissect him.Ben 50:43--the different works of Anthony Mic-- Michael Hall. I can't say his name anymore. It's lost all meaning.Lexi 50:50AMH.Ben 50:51AMH. He's been active as an actor since 1977. Is that something you knew? Lexi 50:56Wow. No, That's, that's...Ben 50:58He's 53 years old. He was born in 1968, April 14th, in West Roxbury, Massachusetts. Can we stop and talk about Massachusetts for a second? And how difficult a fucking place that is to say?Lexi 51:10Yes. I have such a hard time with it, I'd rather just be like, "That place," or write it down and point to it because I feel like I can't say it appropriately.Ben 51:17Yeah, and I'm not gonna make fun of the name 'cause I don't know its origins, etymology or anything, and I don't want to step on something, but, like, just saying, "Mass-a-chu-setts", like I've always said, "Massachusiss", or whatever, as a kid. I've always said it wrong, and then I was in New York, and I said, "Massachusiss", and somebody said, "What the fuck is wrong with you?"Lexi 51:35"Mass-a-chu--"Ben 51:35"Mass-a-chu-setts". Lexi 51:37"Mass-a-chu-setts". Ben 51:38Okay, yeah. It sounds wrong. Just say it-- okay, everybody at home listening, say "Mass-a-chu-setts" about five times, maybe 10 times in a row, and see if you still like yourself.Lexi 51:49That's a tough homework assignment. [chuckles]Ben 51:52Yeah, enjoy. What else do we need to know about M-- Michael Anthony Hall? That's it. I'm good. Let's move on. [along with "Who's That Pokémon" theme music] Who's that Pokémon? We're back. We're back into the regular show, no longer the--Lexi 52:07AMH.Ben 52:08Anthony Michael Hall hour, the AMH hour. Is there anything else we should hit here on the way out? Lexi 52:15I mean--Ben 52:15Like, he produced or something Beethoven, so that's interesting.Lexi 52:18He also did Home Alone, which is a beloved movie.Ben 52:22Produced, yeah. He didn't--Lexi 52:23Oh, I thought... Okay.Ben 52:24But still.Lexi 52:25That's good to know.Ben 52:25He produced Miracle on 34th Street, which, you know, I've always enjoyed.Lexi 52:29He did Mall Rats, which again, like, is a very big movie [Ben groans] that I think a lot of people are like, "That's a cultural icon," but, like, it's also a very, like...Ben 52:39It is. Yeah, it's not a good flick. It does not hold up, and it is one of those ones that, like, yeah, as a rite of passage as a 14 year old, at least around our neck of the woods, you definitely watched, and thought was the greatest thing that ever happened. "Oh, shit pretzels." [Lexi groans] "Ha, ha, ha, ha. In the back of a Volkswagen." Lexi 52:59It's just...Ben 53:00Yeah.Lexi 53:00I feel like it's a really weird mix of, like, heartwarming children's movies and then, like, really problematic teen raunchy comedies.Ben 53:10Yeah.Lexi 53:10Like, well, it's an interesting mix you got there, pal. Ben 53:13Yeah. It's a wild time at Ridgemont High, which is movie I would have-- we should have talked about, but we didn't get to. That's fine, and I don't really remember enough about it except one of the Penn is in it. I think it's Sean Penn who was problematic, as well.Lexi 53:28Yeah. It's Sean Penn. Yeah.Ben 53:30Yeah, yeah.Lexi 53:31Oof. There's... We could... There's a lot of other very problematic teen movies. I mean, like, we've got the whole '90s to stare down. Ben 53:40Yeah.Lexi 53:41She's All That.Ben 53:42I mean, you know, those are movies that I definitely... Can't Hardly Wait. Lexi 53:46[groaning] Oh, I used to love that movie. Ben 53:50Of course you did. We all thought it was great. Lexi 53:51And I watched it recently. Oh, god.Ben 53:54No, I know. There's not a single aspect of that movie that I think holds up.Lexi 53:58Oh, you mean Seth Green's character isn't a redeeming figure throughout history?Ben 54:03It is an absolute travesty that that was allowed to become a thing. Lexi 54:08[whispers] Oh, my gosh.Ben 54:09That... yeah. The racism in that character alone in that, like, sort of characterization that we saw a lot of in the '90s and early 2000s is just wild. Lexi 54:19[softly] I know.Ben 54:19Just wild that that stuff had no critical second thought. Like, I know, we talk about, like, history and culture as these eras, and, like, we didn't have this sort of cultural awareness of these things at the time and, like, it's true, but also like, "So fucking what?" Like, that doesn't--Lexi 54:36Doesn't make it okay.Ben 54:37I just can't see that as an excuse. Yeah. Can't see it as an excuse.Lexi 54:43"Can't Hardly Use it As An Excuse?Ben 54:45[laughs] Yeah, Can't Hardly Wait to use it as an excuse. Like, I just can't use that as a way to be like, "Ah, I can still watch this film and not think of it critically," which I guess nobody's really asking anyone to do. Lexi 54:55But then it, like--Ben 54:56Problematic media is a whole other topic.Lexi 54:58It is, because it does beg the question of, "Do we look at the art versus the artist?" because then, like, we're leading into that era, and even, like, there's a little controversy this week with the old Margaret Atwood and her comments. Ben 55:11Oh, God. Lexi 55:13And I'm not gonna say that "I told you so, world," but I did say that Margaret Atwood isn't a great... I mean...Ben 55:20Well, I mean, she started to swing problematic for a while now. But like, this is also the advent of, sort of like, internet as well, is like, we did not have the information earlier on to know her thoughts on subjects that, you know, were outside of what she'd write about in her books, and maybe more intelligent people than myself picked up more of, like, her problems. I read her books, the ones that I enjoyed, which were like the MaddAddam trilogy, when I was in my early 20s. I don't consider that I was even like a proper adult human with critical thought until I was 25, so like, I still miss stuff all the time, and yeah, that's interesting. Margaret Atwood though. Way to hold my beer, JK Rowling. Jesus.Lexi 56:03Yeah, I did make a couple jokes of like, "Oh, she's really J.K.-ing herself this week." Like, just, if anyone has ever... Like, here's my piece of advice. Just stop. Just don't. Just don't. Like, and, a lot of times, don't weigh in. This is not a place for, "Oh, you know what I think about this?" Nothing. You think nothing about it. Shut up.Ben 56:23Oh, no, trust me that's a lesson I learned as a white dude on the internet that's like, more or less cishet, like, you know, maybe I don't need to offer an opinion on this. There's gonna be a lot of other takes, and I could probably do the most for myself by just reading how this goes out, and if I have questions about things, do some fucking Googling and try to understand these points that I'm having trouble with, and...Lexi 56:48Well, this has been a depressing and sad episode about our failed teenage years of just disappointing racism and sexism. [laughs]Ben 56:58Yeah. Well, you know, and again, this goes back to my really good analogy about, like, conveyor belts and machines or whatever. Like, we haven't fixed the problems with the blueprints and the machinery that's making this shit, so why would we expect it to be different? A different outcome just because, now we're aware that, you know, the shit shouldn't be happening, but apparently, we haven't taken the right action yet to correct where that's coming from, and so that stuff still comes.Lexi 57:29Well, maybe in another couple of decades we'll look at it a little closer. Ben 57:33We'll see. We'll see.Lexi 57:34The rom coms of the future are gonna be more uplifting and diverse and positive.Ben 57:38Okay, well, rom coms are a whole 'nother thing we need to get into 'cause Nora Ephron.Lexi 57:42Teenage.Ben 57:44Nora Ephron, I'm coming for you.Lexi 57:46I don't even wanna talk about rom coms because I don't think that I could say anything other than, "Bleuch."Ben 57:51We broached the subject. I mean, we kind of came into the teen movies thing with the intention of having some positivity to balance it out, [Lexi laughs] but it's hard when you have about 15 to 20 years, dominated by one figure, who has a way of looking at the world that's pretty shitty, and made all the, like, pop culture in that time.Lexi 58:10This is why you need a diverse group of people making content so that you have a wider array of things to look at to form your identity, because, when you're growing up, and the only teen flicks that are out the
PRESENTACIÓN LIBROS 00:02:05 Giganta (Jc Deveney & Núria Tamarit) 0:03:30 Una mujer un voto (Alicia Palmer & Montse Mazorriaga) 00:05:05 solas en Berlín (Nicolas Junker) 00:05:25 Laura y Dino (Alberto Mont) 00:09:35 Oryx y Crake & El año del diluvio. MaddAddam #1, #2 (Margaret Atwood) 00:13:25 el fuego nunca se apaga (Noelle Stevenson) 00:15:05 El dragón renacido. La rueda del tiempo #3 (Robert Jordan) 00:18:15 The Avant-Guards (Carly Uslin) 00:19:45 El portal de los obeliscos. La tierra desfragmentada #2 (N.K Jemisin) 00:22:05 Villanueva (Javi de Castro) 00:24:05 El destino del Tearling #3 (Erika Johansen) 00:26:00 La receta de la luna (Suzanne Walker) 00:28:45 La cuchara de plata. Crónicas de los Forsyte #5 (John Galsworthy) 00:30:20 Matemos al tío (Rohan O'Grady) 00:33:00 en un rincón del cielo nocturno & Lluvia al amanecer. Vol #1 & #2 (Nojico Hayakawa) 00:36:25 Agatha Raisin y el veterinario cruel (M.C. Beaton) 00:38:30 Deberes: laura Dean me ha vuelto a dejar (Mariko Tamaki) PELÍCULAS 00:40:55 Eternals 00:47:10 Tick, tick... boom! 00:53:40 Fuimos canciones 00:57:50 Dear Evan Hansen 01:00:30 El cover 01:02:00 The night house 01:03:40 Alerta Roja SERIES 01:06:20 Dolores: La verdad sobre el caso Wanninkhof 01:12:30 The bite 01:15:10 Ana Bolena 01:18:05 Y, the last man 01:21:10 Foundation (T1) 01:26:30 the Morning Show (T2) 01:29:55 Stargirl (T2) 01:31:35 Vida perfecta (T2) 01:34:50 American Crime Story (T3) 01:39:15 What we do in the shadows (T3) 01:42:50 Supergirl (T6) 01:45:45 Last week tonight with John Oliver (T8) COSAS QUE NOS HACEN FELICES 01:49:10 All too well ten minute version, the short film & I bet you think about me (Taylor Swift) 01:56:00 DESPEDIDA En este programa suenan: Radical Opinion (Archers) / Siesta (Jahzzar) / Pace on Fire (Creo) / I saw you on TV (Jahzzar) / Parisian (Kevin MacLeod) / Bicycle Waltz (Goodbye Kumiko)
Posiblemente una de las novelas distópicas que más me ha sorprendido este año, muy acorde con los tiempos que corren y escrita por una autora que es garantía de calidad literaria. Hoy toca hablar de la trilogía MaddAddam y de la grandísima Margaret Atwood.Para cualquier duda o comentario, las formas de contactar conmigo son a través de Twitter (@greenpeeptoes) o en el canal de Telegram del programa (t.me/habitacion101)También espero tus comentarios en https://emilcar.fm/habitacion101 donde podrás encontrar los enlaces de este episodio.
This we are joined by Fireball and bad decisions as we try to talk about The Suicide Squad (spoilers at 1:31:10), Mythic Quest, 55 Year Mission, Metropolis, What If, Paper Tigers, Pig, Overlook, Games Workshop outlaws animation, Twitch acts like an adult, Warner Brothers ends a bad decision, The US Senate looks to crack down on app stores, A24 does it right, and Red Light/Green Light featuring: Reginald The Vampire, The Moon Is A Harsh Mistress, Austral, and MaddAddam. So I expect an apology from someone, it's time for a Geek Shock!
Capitano serie che guardi con piacere ma che ti lasciano un macigno nel cuore: così va questa settimana. Proviamo a distrarci con le news su Ally McBeal, MaddAddam, Inside Man, Superchicche, E fu sera e fu mattina e il prequel di Rocky…… ma testa torna sempre alla serie della settimana: Your Honor serie che segna … Continua a leggere "11×21 – Your Honor e ci si stringe il cuore"
The Drunk Guys now have a Patreon! If you enjoy the show, send us beer money over at patreon.com/drunkguysbookclub! The Drunk Guys become grandmaster alcoholathon players this week when they discuss the patreon book of the month Oryx and Crake by Margaret Atwood. They become expert at: Lexicon, Ecosphere, and
Samira Ahmed speaks to the acclaimed author of The Handmaid’s Tale and The Testaments Margaret Atwood. They speak about her life and career, from her experiences as a young schoolgirl in Canada and her prolific writing career of novels and poetry to the impact of the Handmaid becoming a symbol of resistance against the disempowerment of women and her playful love for puppeteering.Margaret Atwood is the bestselling author of more than fifty books of fiction, poetry and critical essays. Her 1985 classic, The Handmaid's Tale, went back into the bestseller charts with the election of Donald Trump and with the 2017 release of the award-winning Hulu TV series. Her novels include Cat's Eye, The Robber Bride, Alias Grace, The Blind Assassin and the MaddAddam trilogy.Atwood has won numerous awards including the Booker Prize, the Arthur C. Clarke Award for Imagination in Service to Society, the Franz Kafka Prize, the Peace Prize of the German Book Trade and the PEN USA Lifetime Achievement Award. In 2019 she was made a member of the Order of the Companions of Honour for services to literature. She has also worked as a cartoonist, illustrator, librettist, playwright and puppeteer.IF YOU ENJOY THIS PODCAST PLEASE RATE AND REVIEW US ON APPLE PODCASTS: https://podcasts.apple.com/za/podcast/how-i-found-my-voice/id1455089930How I Found My Voice is an Intelligence Squared podcast that explores how some of the world's greatest artists and thinkers became such compelling – and unique – communicators. The Executive Producer is Farah Jassat. Follow us on Twitter for updates of upcoming episodes @intelligence2 Support this show http://supporter.acast.com/howifoundmyvoice. See acast.com/privacy for privacy and opt-out information.
In this unlocked bonus episode, we discuss Margaret Atwood as a (sometimes controversial) person and INFAMOUS pescatarian. Kimber accidentally does ageism and Krystle... will definitely hate the ending music. If you want to hear more bonus content or simple support the show - please check us out at patreon.com/bigbitchenergy
While many know Margaret Atwood for her dystopian novels The Handmaid's Tale (1985) and the MaddAddam trilogy, her distinguished career began via another medium: poetry. Audiences eagerly awaiting Atwood's return to the form will not be disappointed with her first collection in over a decade. Dearly is an introspective and intimate reflection on love, loss, and the passage of time. Come hear the singular voice and mind of Margaret Atwood at play, reflecting on the role of writing in helping us to understand our past and prepare for the future. Atwood is joined in conversation by CHF Marilynn Thoma Artistic Director Alison Cuddy. This program was livestreamed on November 8, 2020. This program is generously underwritten by Ellen Stone Belic. Women & Children First is Chicago's feminist bookstore, celebrating and amplifying underrepresented voices since 1979. This week's programs presented with the support of Bank of America. Donate now to support programs like this: https://www.chicagohumanities.org/donate Explore upcoming events: https://www.chicagohumanities.org/
In this requested bonus episode, we discuss Margaret Atwood as a (sometimes controversial) person and INFAMOUS pescatarian. Kimber accidentally does ageism and Krystle... will definitely hate the ending music. Up next will be an episode on Oryx and Crake/the MaddAddam trilogy. Find us on patreon.com/bigbitchenergy if you want to listen to the rest ;)
In this episode Ryder discusses how ideas become pervasive. We accept that technology is progress, and the thing we created, now controls us under the guise of being essential or more efficient. And essentialism is at odds with human needs and society. Ryder walks through how online surveillance to enhance products also captured 'exhaust data' which tracked users behavior. Eventually google figured out how to capitalize on this data, turning it into a revenue stream, but at the cost of user security and consent. While many people claim not to care, Ryder maps out a few examples of how this path is leading to negative results and manipulation by Facebook, Tinder, Pokemon Go, and Walmart. He also discusses the tech and techniques developed and pioneered online being used by China to control citizens through social credit scores and facial recognition for tracking and abusing ethnic minorities. The Will to DIY website has references and sources: https://thewilltodiy.com/step-15-surveillance-capitalism/2:18 Technology as the new religion: removing human agency for the sake of "progress"5:00 Your tears were lost, but now they are found. And Google will use them to manipulate you. 8:59 Control Corp's happy familteam loves their tracking devices!13:27 "Lure Modules" via Pokemon Go: pre-determining your behavior 15:49 "You really hurt your Uncle Walmart" the panopticon of time19:30 China's social credit system: the "trustworthiness score"
Today, Kaytee and Meredith are here with a special episode for you! We are sharing 15 of the listener “presses” we received in our call to action! You’ll hear from each of those 15 listeners and then our commentary on each press, but none of our other regular segments. This was one of our most popular episodes of Season 1, so we hope you love it this year as well! As per usual, time-stamped show notes are below with references to every book and resource we mentioned in this episode. If you’d like to listen first and not spoil the surprise, don’t scroll down! *Please note that all book titles linked above are Amazon affiliate links. Your cost is the same, but a small portion of your purchase will come back to us to help offset the costs of the show. Thanks for your support!* . . . . . BOTM Ad (these are Goodreads links so you can check out these books and decide if you want to grab them from BOTM or not!): 2:30 - The Shadows by Alex North 2:39 - The Whisper Man by Alex North 2:52 - Mexican Gothic by Sylvia Moreno-Garcia 3:55 - The Beauty in Breaking by Michele Harper 4:09 - Maybe You Should Talk to Someone by Lori Gottleib 4:13 - Being Mortal by Atul Gwande 4:50 - Use our link and code CURRENTLYREADING to get your first book for $9.99 Listener Presses: 6:00 - The Vanishing Half by Brit Bennett (Sarah) 6:03 - The Mothers by Brit Bennett 8:31 - A Burning by Megha Majumdar 8:37 - Passing by Nella Larsen 8:48 - Novel Pairings Podcast episode about Passing by Nella Larsen 9:06 - The Forgetting Time by Sharon Guskin (Nicole) 12:11 - The Most Fun We Ever Had by Claire Lombardo (Lindsay) 14:03 - Commonwealth by Ann Patchett 15:01 - An Elderly Lady is Up to No Good by Helene Tursten (Jennifer) 17:06 - Disappearing Earth by Julia Phillips (Joy) 19:07 - Beartown by Fredrick Backman 19:40 - The Mother-in-Law Cure by Katherine Wilson (Alanna) 21:51 - Before We Were Yours by Lisa Wingate (Theresa) 27:01 - The Scorpio Races by Maggie Steifvater (Nicole) 30:03 - Let’s Explore Diabetes with Owls by David Sedaris (Whitney) 30:57 - Squirrel Seeks Chipmunk by David Sedaris 31:49 - Me Talk Pretty One Day by David Sedaris 31:50 - Naked by David Sedaris 31:58 - Dress Your Family in Corduroy and Denim by David Sedaris 32:01 - Holidays on Ice by David Sedaris 32:28 - Theft by Finding by David Sedaris 32:59 - Oryx and Crake by Margaret Atwoood (Frances) 33:57 - The Handmaid’s Tale by Margaret Atwood 34:11 - The Year of the Flood by Margaret Atwood 34:12 - MaddAddam by Margaret Atwood 34:24 - The Blind Assassin by Margaret Atwood 35:43 - The Incorrigible Children of Ashton Place: The Mysterious Howling by Mary Rose Wood (Emily) 36:35 - Episode 42 of Season 1 with Heather Chollar 37:04 - Mary Poppins by PL Travers 37:54 - Reincarnation Blues by Michael Poore (Amy) 39:57 - Uprooted by Naomi Novik (Morgan) 41:45 - A Curse So Dark and Lonely by Brigid Kemmerer 42:37 - With the Fire on High by Elizabeth Acevedo (Kaytee) 46:16 - We Have Always Lived in the Castle by Shirley Jackson (Holly) 47:35 - The Library at Mount Char by Scott Hawkins 47:36 - Neverwhere by Neil Gaiman Connect With Us: Meredith is @meredith.reads on Instagram Kaytee is @notesonbookmarks on Instagram Mindy is @gratefulforgrace on Instagram Mary is @maryreadsandsips on Instagram currentlyreadingpodcast.com @currentlyreadingpodcast on Instagram currentlyreadingpodcast@gmail.com
These days, we're living with a lot of uncertainty. And that can be scary. So we turn to science, to mathematical models and policy makers, all to try to understand where things are going. But fiction can also offer us insights into not what's going to happen, but who we are. Novels can remind us that no matter how scary or uncertain things are, others have dealt with similar feelings. Over the years at Spark, we've spoken to many authors who have imagined the future, and where our strengths and weaknesses could lead us. And while none of them predicted what we're going through now, they still offer insights on being human in strange times. And for where we may be headed. + Gary Shteyngart is an American author, and we'll have part of a 2010 interview about his book Super Sad True Love Story. + David Mitchell, author of Cloud Atlas, from 2015 about his novel Slade House, which began as a story called "The Right Sort," which he released on Twitter. + William Gibson, author of Neuromancer, in a 2015 interview about how our sense of history is changing. + Ian McEwan, who won the Booker Prize for his book, Amsterdam, in a 2019 interview about his most recent novel, Machines Like Us, which explores a romantic relationship with a robot. + Margaret Atwood, Booker-Prize winning author of The Handmaid's Tale, The Testaments, and the MaddAddam trilogy, in a 2014 conversation about robots and our relationships with them.
Welcome to episode 3 of the Plaintext Podcast!You read that right, folks. Today I'm not speaking with a CISO. Instead, I'll be chatting with award-winning author, poet, inventor and activist Margaret Atwood (known for The Handmaid's Tale, Alias Grace, The Testaments and more than a dozen other novels). I first met Margaret 10 years ago while she was doing research for what became her book MaddAddam. (To hear more about that, you'll have to listen.)In this episode, Margaret and I discuss storytelling, and specifically how the storyteller can impact the security conversation and how to get messages heard by a wider audience. We also dig into how dystopia can have a firm hold in security, as we are on the leading edge of the fight to root out attacks and democratize security.From there, we chat about Margaret's invention, the LongPen, which is now part of the company Syngrafii. And we close out the discussion by highlighting some of the many charitable causes she is championing.I hope this interview is as fun to listen to as it was to participate in.Enjoy!
Anne Cathrine Straume anbefaler tjukke bøker i koronaens tid, i dag til sammen 12 bind! Trilogiene "Vernon Subutex" av Virginie Despentes og "MaddAddaM" av Margaret Atwood og Elena Ferantes kvartett fra Napoli.
In this new episode, launched on World AIDS Day 2019, we meet Cristina Tato, Associate Director of the CZ Biohub Infectious Disease Rapid Response Team, and explore the lessons learned from the AIDS epidemic, and how societies need to prepare for new outbreaks.---A Shot in the Arm Podcast Webpage - http://www.ashotinthearmpodcast.comFacebook: @shotarmpodcast - http://bit.ly/asita_fbvideosYouTube: @shotarmpodcast - http://bit.ly/asita_youtubeApple Podcasts - http://bit.ly/asita_appleGoogle Podcasts - http://bit.ly/asita_googleSpotify - http://bit.ly/asita_spotifyiHeart Radio - http://bit.ly/asita_iheartStitcher - http://bit.ly/asita_stitcherTuneIn (and Alexa enabled devices) - http://bit.ly/asita_tuneinRSS Feed - https://feeds.buzzsprout.com/276933.rss
Rachel and Melody talk about their favorite disaster novels and discuss whether they'd survive an apocalypse! Check out what we talked about: "One Second After" by William R. Forstchen with "One Year After" and "The Final Day," the remaining books in the After series. Also, the 2018 films "A Quiet Place" and Netflix's "Bird Box." "Station Eleven" by Emily St. John Mandel with readalike "The Gracekeepers" by Kirsty Logan. "Oryx and Crake" by Margaret Atwood with "The Year of the Flood" and "MaddAddam," the remaining books in the MaddAddam series. Also, Margaret Atwood's "The Handmaid's Tale." "Dry" by Neal Shusterman with readalike "Landscape with Invisible Hand" by M.T. Anderson and the Arc of a Scythe series by Neal Shusterman. TV shows "Doomsday Preppers" and "Jericho." Interested in Disaster reads? Try our Dystopian booklist: https://oakcreeklibrary.org/adult-booklists/#tableid=76. Wondering about your survival chances? Take this quiz: https://zomboid.com/zombie/ Check out books, movies, and and other materials through the Milwaukee County Federated Library System: https://countycat.mcfls.org/ https://www.hoopladigital.com/ https://wplc.overdrive.com/ https://oakcreeklibrary.org/
Arctic sea ice — who needs it?! KC & JP celebrate yet another human achievement. Tour recent, arctic headlines and their origins as science "fiction." KC tells her bear-encounter stories. Readings from MADDADDAM by Margaret Atwood & WE'RE DOOMED, NOW WHAT? by Roy Scranton. Weaponize the bears. Leo: go on Maximum. EPISODE SPONSOR: Operation Bearlift: Turn your dead loved-ones into food. [Fresh bodies only.]
Discuss Grand Master Yoda rework with CG MaddAddam & CG Aurok! Need audio gear?! Bluedesigns.com Promo code: SOPod
This week brings the Play-Doh as we talk about Thayer's Quest, Nethack, Page Habit, PowerSpice Girls, ROM is alive, Debbie Lee Carrington, 4DX with ScreenX, The Tension Experience, Hawking in Westminster, Sandman Slim, Netflix gets a shrubbery, KB Toys returns, That What We Do In The Shadows, Truth Seekers, In Search Of, The Bone Church, Chambers, MaddAddam, God Friended Me and More. So Mmmmmmbop? It's time for a Geek Shock!
Sharifah and Jenn discuss Ursula K. Le Guin and lots of adaptation news, and recommend weird westerns. This episode is sponsored by The Hazel Wood by Melissa Albert and Reign of the Fallen by Sarah Glenn Marsh. News: Ursula K. Le Guin Has Died The Voldemort fan-made movie Hogwarts Mystery game trailer Bidding War for MaddAddam trilogy adaptation Bryan Fuller is working on an Anne Rice TV series Books Discussed: The Lathe of Heaven by Ursula K. Le Guin The Earthsea Cycle River of Teeth by Sarah Gailey The Gaslight Dogs by Karin Lowachee Daisy Kutter: The Last Train by Kazu Kibuishi The Amulet series by Kazu Kibuishi Six-Gun Snow White by Catherynne M. Valente
In which I talk, in rather rushed fashion, to great Canadian author and "bad" feminist Margaret Atwood about literary tourism: 'place' and her novel MaddAddam, Harvard and The Handmaid's Tale, and the Kingston Penitentiary and Alias Grace, also the real and the imaginary, the unreliability of eye witnesses, following the research, Samuel Johnson, Ernest Hemingway, food and underclothing, bodies, space and smell, plus the importance of plumbing.
Luke reviews MaddAddam by Margaret Atwood. Get this audiobook for free, or any of 100,000 other titles, as part of a free trial by visiting this link: http://www.audibletrial.com/sfbrp. Buy this book at Amazon, or discuss this book at Goodreads.com Luke blogs at: http://www.lukeburrage.com/blog Follow Luke on twitter: http://twitter.com/lukeburrage Luke writes his own novels, like “Minding […]
On This Edition of The Zoomer Week in Review:We'll hear a conversation Libby had with author and activist Margaret Atwood from the launch party for her new book MaddAddam. It's the third and final novel in her trilogy about a dystopian future. Plus, this week CARP released a comprehensive research report on the evolving expectations and ambitions of Canadians eligible to retire. It finds that most older workers want to keep working - but on their own terms. CARP's Susan Eng tells us what these results mean for Zoomers and the workforce!
Margaret Atwood, Arnaldur Indriadason and MJ McGrath talk to Rana Mitter about crime fiction and cold settings as part of Radio 3's Northern Lights Season. It's 100 years since Freud published his seminal paper The Unconscious. Rana Mitter and guests New Generation Thinker Shahidha Bari, psychotherapist Mark Vernon and Dr Suzanne O'Sullivan - author of It's All in Your Head - discuss the role notions of the unconscious have played in psychology and culture ever since. New Generation Thinker Naomi Paxton shares her research. Margaret Atwood is the author of books including Stone Mattress and the MaddAddam trilogy. Arnaldur Indriadason's novels include Strange Shores, The Draining Lake and Oblivion. MJ McGrath's novels include The Bone Seeker, White Heat and The Boy In The Snow. Producer: Luke Mulhall.
I veckans avsnitt av podcasten Bakom boken möter vi Margaret Atwood, aktuell på svenska med Maddaddam. Hör henne berätta om sitt författarskap, om sina många besök i Sverige och om hur hon vann det svenska humorpriset. Om boken: En farsot har svept fram över jorden, men en liten grupp kallad MaddAddamiter överlever tillsammans med de grönögda crakerianerna - en vänligt sinnad humaniod art som framställts med bioteknik för att ersätta människosläktet.Överlevarna i civilisationens ruiner ställs inför nya hot och möjligheter - kan mänskligheten få en andra chans, trots att vi misslyckades så grovt med den första?Berättad med spiritualitet och svart humor för Margaret Atwoods MaddAddam läsarna djupare in i en oförutsägbar och isande dystopisk värld. En gripande och dramatisk avslutning på den internationellt prisade trilogin som inleddes med Oryx och Crake och Syndaflodens år.
Med romanen MaddAddam konkluderer Margaret Atwood sin dystopiske trilogi om livet på jorden i nær fremtid. Fabelaktig, mener vår anmelder.
Markus stellt die dystopische Romantrilogie MaddAddam von Margaret Atwood vor. Benjamin unterzieht (ab 45:35) David Finchers Film Fight Club einer Neubetrachtung vor dem Hintergrund des Cyber-Space-Hypes der späten 1990er. Am Ende gibt es einen Nachklapp (ab 1:43:45). Folge 007 – jetzt abspielen
Anne McElvoy talks to celebrated Canadian novelist Margaret Atwood whose most recent novel MaddAddam completed her dystopian trilogy that began a decade ago with Oryx and Crake and continued six years later with The Year of the Flood. Originally broadcast on 17.09.2013.
Bookrageous Episode 67; Survival Stories Intro Music; I Will Survive by Gloria Gaynor What We're Reading Josh [1:50] Operation Paperclip, Annie Jacobsen Paul [6:00] Fuzzy Typewriter: True Detective [6:08] Between Here and the Yellow Sea, Nic Pizzolatto [7:00] Galveston, Nic Pizzolatto [8:15] Andre the Giant: Life and Legend, Box Brown, May 6 2014 Rebecca [10:50] Redeployment, Phil Klay [13:10] Sleep Donation, Karen Russell (available from Atavist, Kobo, iTunes) Josh [18:30] Sword of Shannara, Terry Brooks Rebecca [18:50] The Vacationers, Emma Straub, May 29 2014 [21:15] Bad Feminist, Roxane Gay, August 1 2014 (An Untamed State) --- Intermission; Survivor by Destiny's Child (covered by Knockout) --- Survival Stories [26:15] Island of the Blue Dolphins, Scott O'Dell [26:20] The Cay, Theodore Taylor [26:35] Hatchet, Gary Paulsen [27:18] The Martian, Andy Weir [27:28] The Diary of a Young Girl, Anne Frank [27:40] Number the Stars, Lois Lowry [27:50] Night, Elie Wiesel [28:00] Maus, Art Spiegelman [29:05] The Things They Carried, Tim O'Brien [29:45] The Walking Dead, Robert Kirkman [31:15] Life of Pi, Yann Martel [32:25] Touch and Go, Thad Nodine [34:10] The Lost City of Z, David Grann [35:45] The Terror, Dan Simmons [37:45] Into the Wild, Jon Krakauer [39:45] The Room, Emma Donoghue [40:05] An Untamed State, Roxane Gay [41:15] The Tiger, John Vaillant [42:25] The Pride of Baghdad, Brian K. Vaughan [43:00] Watership Down, Richard Adams [44:40] The Ascent of Rum Doodle, W.E. Bowman [45:45] The Hunger Games, Suzanne Collins [48:00] Let Books Be Books [50:25] MaddAddam, Margaret Atwood (Oryx & Crake, Year of the Flood) --- Outro Music; I Will Survive by Gloria Gaynor --- Find Us! Bookrageous on Tumblr, Podbean, Twitter, Facebook, Spotify, and leave us voicemail at 347-855-7323. Find Us Online: Josh, Paul, Rebecca Order Josh's book! Maine Beer: Brewing in Vacationland Bookrageous book club: Silence Once Begun, Jesse Ball Get Bookrageous schwag at CafePress Note: Our show book links direct you to WORD, an independent bookstore in Brooklyn. If you click through and buy the book, we will get a small affiliate payment. We won't be making any money off any book sales -- any payments go into hosting fees for the Bookrageous podcast, or other Bookrageous projects. We promise.
In her latest trilogy, Margaret Atwood describes an eerie post-apocalyptic world in which most of the human race has been destroyed by a “waterless flood” aka an engineer plague. All that is left are a few Gardeners (a cult-like group who refuse to eat meat and live according to nature), the Crakers (an engineered race created by Crake to be a perfect humanoid civilization) and a few mixed animals (the most important being the pigoons, pigs equipped with human brain tissue) Will humanity survive? And if yes, how? The story is told from various perspectives (from Jimmy to Ren, to Toby, to Zeb, and finally to Bluebeard) and move back and forth between the present (year 25, post-apocalypse) and the past (how and why the plague came to be? who were Oryx and Crake? who is Adam one? was there an Eve One? what happened to the world?) A very good tale of despair and hope, of civilization (re)created, of what it means to live in a deprived world run by the CorpSeCorps, of love and friendship, and of blue abdomens…
Margaret Atwood appears at the 2013 Library of Congress National Book Festival, 9/21/2013. Speaker Biography: The more than 50 volumes of poetry, children's literature, fiction and nonfiction of Margaret Atwood have garnered numerous awards and critical plaudits, including the Canadian Booksellers' Lifetime Achievement Award and the Booker Prize (for "The Blind Assassin" in 2000). Her international best-selling "The Handmaid's Tale" was a major motion picture. Atwood is also the inventor of the LongPen, which allows an author to sign books from a remote location. Her latest novel is "MaddAddam," the concluding work in her dystopian trilogy, which was preceded by "Oryx and Crake" and "The Year of the Flood." For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6044
MaddAddam
MaddAddam, Margaret Atwood's highly anticipated conclusion to the 'disturbingly credible' dystopian trilogy begun with Orynx and Crake and The Year of the Flood, has finally arrived and gets the Book Talk treatment this month, at the hands of Paul Gallagher, freelance writer Lee Randall and Book Riot contributor Edd McCracken.Bringing together the parallel stories covered in the first two books, MaddAddam follows a small tribe of survivors of a man-made plague, focusing mainly on former God's Gardener Toby and Zeb, the object of her affections. Surrounding them are a madcap cast that includes Snowman-the-Jimmy, a reluctant, hallucinating prophet; Amanda, the survivor of a vicious attack at the novel's start; and Ivory Bill, who loves Swift Fox, who's attracted to Zeb.Atwood's story is darkly humorous, chilling and deals with an enormous number of themes: misogyny, storytelling, rape and trauma, and bioengineering, to name just a few. Was Atwood successful in balancing all her ideas, or does the book fall short? Does the book manage to convey her usual mastery of delving deeply into her characters? Is it possible to enjoy this book as a standalone, or is it necessary to read the entire trilogy? Find out what our panel has to say.
MaddAddam: A NovelMargaret AtwoodIn conversation with author Sarah Shun-lien BynumIn Atwood’s dark and hilarious new novel, a man-made plague has swept the earth, but only a small group survives. In a world only Atwood could imagine, the Crakers’ reluctant prophet is hallucinating and giant Pigoons and malevolent Painballers threaten to attack. Join us for a conversation with this visionary author on the stunning conclusion to her dystopian trilogy, set in a future that is not only possible, but perhaps inevitable.*Click here to see photos from the program!
Anne McElvoy talks to celebrated Canadian novelist Margaret Atwood whose latest novel MaddAddam competes her dystopian trilogy that began a decade ago with Oryx and Crake and continued six years later with The Year of the Flood.
Margaret Atwood's Maddaddam completes the dystopian trilogy that began with "Oryx and Crake" and "The Year of the Flood."
Tom picked this one because he was interested in reading some sci fi, and Atwood's novel, the first in her MaddAddam trilogy, came highly recommended. We talk about novels rooted in character versus novels rooted in premise, and whether science fiction can ever be capital-L Literature. Plus: children behaving badly, and the inevitable day when the robots rise up and rule us all. For more, visit our site at bookfightpod.com
Marie Lundström har varit i Toronto, Kanada, och skådat Slutet För Världen! En sak är dock säker - Undergången saknar inte humor. Hör Lundströms intervju med ständigt nobelpristippade författaren Margaret Atwood, vars avslutande del av den dystopiska trilogin MaddAddam nu kommer ut på engelska. Sen finns det ju trotsiga själar som fortfarande tror att det finns möjlighet att rädda Världen, men som brottas med just hur förändringen ska gå till. Vi har träffat dramatikern Anders Duus, aktuell i höst med pjäsen Grodregn över Fruängen på Stockholms Stadsteater och romandebuterande Linn Spross med boken Grundläggande Studier i hoppfullhet och hopplöshet. Och om Undergången rymmer inslag av humor, får man säga att även Den Havererade Kärleken gör det - åtminstone i Lena Anderssons kärleksroman Egenmäktigt förfarande. Lena Andersson kommer som gäst till höstpremiären. Hör också om Lundströms kamp med 1120 sidor Knausgård och Min kamp 6. Det vill du inte missa. Texter det talas om i dagens program: Margaret Atwood: MaddAddam (2013), Syndaflodens år (2010), Oryx och Crake (2003), de två tidigare romanerna översatta av Birgitta Gahrton. Linn Spross: Grundläggande studier i hoppfullhet och hopplöshet (2013) Anders Duus: pjäsen Grodregn över Fruängen Lena Andersson: Egenmäktigt förfarande - en roman om kärlek (2013)
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