Podcasts about Marlowe

“It warms my heart in some really weird way” -Noir. FC Marlowe Conrad joins the show for a first hand account of this years FanFest -Also joining us, the developer of EVE OS Luke Kabbash! -Our reaction to all the … Continue reading →

This story revolves around the adventures of Philip Marlowe, a private investigator navigating a complex web of crime, deception, and personal connections in Los Angeles. The narrative unfolds with the atmospheric backdrop of the Santa Ana winds, leading to a series of encounters that reveal the darker sides of human nature and the consequences of past actions. Marlowe's interactions with various characters, including a mysterious woman and a dead man, highlight themes of love, loss, and the pursuit of truth amidst chaos.TakeawaysThe Santa Ana winds symbolize chaos and unpredictability.Marlowe's character embodies the classic noir detective archetype.The narrative explores themes of love and loss through Lola's story.The investigation reveals the interconnectedness of crime and personal relationships.Marlowe's encounters often lead to dangerous situations, showcasing the risks of his profession.The pearls serve as a metaphor for deception and the value of memories.The story highlights the moral ambiguity of the characters involved.Marlowe's interactions with law enforcement reflect the complexities of justice.The ending emphasizes the futility of material possessions in the face of loss.The narrative style captures the essence of Raymond Chandler's writing."The Adventures of Philip Marlowe" was a popular hardboiled detective radio series based on Raymond Chandler's stories. It had two main runs, first on NBC with Van Heflin in 1947, and later on CBS with Gerald Mohr from 1948 to 1951, becoming a top radio program. Despite its popularity, it lacked consistent sponsorship. Raymond Chandler had little involvement but was generally pleased with Mohr's portrayal. The CBS version, produced by Norman Macdonnell, was better received than the initial NBC run, and featured contributions from notable writers and actors.Chapters00:00 Introduction to Philip Marlowe02:27 The Mysterious Lady and the Bar Incident06:12 The Encounter with the Killer08:28 Unraveling the Mystery of Waldo12:10 The Search for the Missing Pearls18:02 The Dead Man in Waldo's Room19:26 The Lady's Convertible and the Investigation20:40 Negotiations and Unpaid Bills24:03 The Revelation of the Fake Pearls26:56 The Clasp and the Emotional Connection28:07 The Conclusion and Reflection

00:00 Chris Marlowe joins the show.20:20 Nuggets High Five.32:30 Thunder's decision to foul with Jokic off the court.

0:00 - Vic, Marlowe, and Demspey went through a roller coaster of emotions during the final sequence of the Nuggets game. Their reactions were priceless. Let's roll the tape!13:55 - What's the difference between a "good" team and a "special" team? They're not the same. This Nuggets squad is "special," but we don't know if they're "good" enough to make it deeper into the playoffs.34:10 - The Thunder had 8 days rest before Game 1. The Nuggets had like 48 hours. The Thunder were at home. The Nuggets had to fly to OKC after a grueling 7-game series. And yet, the Nuggets won. Somehow, they found a way.

Taking in a pro wrestling match, Philip Marlowe is soon on the job. Get caught up in the ringside activities as Marlowe offers the descriptive dialog. A dame enters with…

Taking in a pro wrestling match, Philip Marlowe is soon on the job. Get caught up in the ringside activities as Marlowe offers the descriptive dialog. A dame enters with…

In this encore presentation, we go back to the summer of 1947 when Philip Marlowe came to the air in his own weekly series with Van Heflin playing Raymond Chandler's private eye. The NBC series featured a mix of original mysteries as well as adaptations of Chandler stories, including the show's premiere episode "Red Wind" (originally aired on NBC on June 17, 1947). A year later, Gerald Mohr would put his own stamp on the character, but these Heflin shows offer a different take on Marlowe and a compelling portrayal in its own right. Along with "Red Wind," we'll hear "The Daring Young Dame on the Flying Trapeze" (July 1, 1947); "The King in Yellow" (July 8, 1947); "Trouble is My Business" (August 5, 1947); and "Robin and the Hood" (August 19, 1947).

In this episode of Unreserved, TJ Callaway chats with rising country star Dylan Marlowe at the iconic Georgia Theatre in Athens. Dylan shares his journey from small-town Georgia to Nashville, opening up about his early love for baseball, discovering songwriting through Eric Church, and chasing his music dreams with his dad's support. He reflects on the impact of going number one with “Boys Back Home,” collaborating with artists like Hardy and Connor Smith, and navigating the music industry with authenticity. The two also dive into stories about deer hunting and balancing fame with faith and marriage.Early Tour Memories (00:01:01) Growing Up in Georgia and Discovering Music (00:01:29) First Steps into Songwriting and Open Mic Nights (00:03:08) Going Number One with “Boys Back Home” (00:04:35) Writing Trips, Collaboration Culture and Connor Smith (00:06:49) Navigating Nashville and Mentorship from Other Artists (00:10:55) Touring with Hardy and Signing a Publishing Deal (00:12:08) Returning to Georgia Venues and Career Milestones (00:17:44) Balancing Faith, Marriage, and the Demands of Touring (00:21:11) Advice for Young Musicians and Staying Authentic (00:24:55) Deer Stories, Burned Tractor, and Taxidermy Tales (00:30:23) Reddit Thread Rumors (00:33:43)   TJ Callaway is the Founder and CEO of Onward Reserve, a lifestyle brand created with a deep appreciation for life's authentic moments, high regard for quality products and the spirit of sporting traditions.   TJ on Instagram Onward Reserve on Instagram Onward Reserve Dylan Marlowe's WebsiteDylan Marlowe on Instagram

"The Adventures of Philip Marlowe" was a hardboiled detective radio series based on Raymond Chandler's iconic private eye. Unlike many other detective shows of the era, it was known for its serious tone, with fewer lighthearted moments.The show premiered on NBC in June 1947 as a summer replacement for Bob Hope, titled "The New Adventures of Philip Marlowe," starring Van Heflin. The first episode adapted Chandler's short story "Red Wind," and the NBC run concluded in September 1947.In 1948, the series moved to CBS and was renamed "The Adventures of Philip Marlowe," with Gerald Mohr taking on the lead role. This CBS version also began with a different adaptation of "Red Wind." By 1949, it had become the most popular radio program. The CBS series aired for 114 episodes, from September 1948 to September 1950.From July to September 1951, the show briefly returned as a summer replacement for "Hopalong Cassidy," with Mohr reprising his role, except for one episode in 1950 featuring William Conrad.A notable episode, "The Birds on the Wing" (November 26, 1949), famously broke the fourth wall at both the beginning and end. Marlowe mentions reading Chandler's latest novel, "The Little Sister," and in the conclusion, Gracie Allen asks Marlowe to find a radio show for her husband, George Burns.Lyn Murray composed the program's music. The theme used in the first two NBC episodes, where Marlowe narrates the opening of Chandler's "Red Wind," later became a prominent motif in Murray's score for Alfred Hitchcock's "To Catch a Thief" (1954).Despite its popularity, "The Adventures of Philip Marlowe" lacked consistent sponsorship, with only brief periods supported by Ford Motor Company and Wrigley's Gum in 1950.Raymond Chandler had minimal involvement with the radio series, content with the weekly royalties for his character's use and expressing moderate satisfaction with Gerald Mohr's portrayal of Marlowe.The first NBC episode's script was by Milton Geiger, which Chandler found "thoroughly flat." The CBS version, produced and directed by Norman Macdonnell, was better received. The writing team for the CBS series included Gene Levitt, Robert Mitchell, Mel Dinelli, and Kathleen Hite, with music by Richard Aurandt and Roy Rowan as the announcer. The cast alongside Gerald Mohr featured actors such as Jeff Corey, Howard McNear, Parley Baer, Lawrence Dobkin, Virginia Gregg, Gloria Blondell, and Lou Krugman.

Ten odcinek skupia się na postaci drugoplanowej o imieniu Sean Jennison z powieści Jamesa Clavella „Król szczurów”. Postacie drugoplanowe często mają ciekawe historie, czasami przechodząc znaczące transformacje, a w niektórych przypadkach ich historie mogłyby zasługiwać na osobną książkę.„Król szczurów” rozgrywa się w obozie Changi w Singapurze, kontrolowanym przez Japończyków podczas II wojny światowej, gdzie przetrzymywani byli jeńcy alianccy (Brytyjczycy, Amerykanie i Australijczycy). Autor, James Clavell, był więźniem tego obozu. Głównymi bohaterami powieści są Anglik Marlow i tytułowy „Król”. Dzisiejsza dyskusja koncentruje się jednak na Seanie  Jennisonie.Sean Jennison jest postacią drugoplanową i pojawia się w książce w zaledwie trzech scench. Mimo tego zapada w pamięć. Postać Sean prawdopodobnie opiera się na prawdziwej osobie, którą Clavell znał osobiście w obozie, o imieniu Bobby Spong. Biografia Bobby'ego powierzchownie pokrywa się z biografią Sina, szczególnie ich zaangażowanie w teatr obozowy.W powieści Sean przyjmuje kobiecą osobowość. Jak należy rozumieć tą przemianę?1. Tożsamość transseksualna/transpłciowa2. Homoseksualizm sytuacyjny3. Eskapizm4. Metoda aktorskaAkceptacja i entuzjazm grupy mogły zachęcić Seana do pełnego przyjęcia swojej roli. Wielu mężczyzn, w tym sam Król, wierzyło, że Sean jest kobietą. Tę akceptację opisano jako zbiorową iluzję lub zbiorową potrzebę.W przeciwieństwie do Bobby'ego Sponga, który podczas podróży statkiem, Sean Jennison popełnił samobójstwo po wyzwoleniu obozu. Postawa pozostałych więźniów wobec Sina zmienia się drastycznie i okrutnie. Zaczynają wykrzykiwać na niego obelgi i wyzwiska. Tę zmianę postrzega się jako powrót mężczyzn do starej rzeczywistości i odrzucenie sytuacji, którą stworzyli wokół Seana w obozie. Być może czuli się winni lub musieli udowodnić, że nie byli wśród tych, których pociągał mężczyzna udający kobietę. Prześladując go jako grupę, zbiorowo wyrzekli się swojego przeszłego zachowania.W ostatniej scenie opisującej śmierć Sina, autor najpierw opisuje przygotowania Sina poprzez założenie kobiecego stroju („sarong, pas, pończochy, wypchany biustonosz”), a następnie stwierdza, że ​​„dziewczyna wstała” i weszła do morza. Autor używa słowa „dziewczyna” i opisuje jej śmierć, sugerując, że to kobieca postać, a nie Sin, zginęła w wodzie.

When fishermen set sail, Deacon Marlowe Sabater says, they place one foot on the deck—and the other, unknowingly, “in the watery grave, because you just won't know what's gonna happen out there.” Born and raised in Metro Manila, Marlowe now ministers to seafarers and port workers—many of them migrant workers from his native Philippines—through the Diocese of Honolulu's Apostleship of the Sea ministry. Facing unpredictable storms and countless dangers at sea, every safe return to shore, he says, is “an everyday miracle.” Marlowe is our guest on “Preach” for the Third Sunday of Easter. In his homily, he reflects on the Gospel story of the risen Christ meeting his disciples on the shore and connects it to the faith of those who work and live at sea today. In conversation with host Ricardo da Silva, S.J., Marlowe draws even further from his ministry—meeting workers at the docks to pray with them, to minister to them and to share the trust that sustains us all amid life's storms: “When Jesus is in our boat, he has the capability of calming the storm of our lives.” When he's not at the ambo, on the docks or behind a desk, Marlowe finds his anchor in family life with his wife, Maggie, and their two sons. He credits Maggie as his “editor in chief,” offering the honest feedback every preacher needs. “Sometimes she'll read my homily and say, ‘I don't feel it,'” he says. “And it's back to the drawing board—and she's always right.” Get daily Scripture reflections and support “Preach” by becoming a digital subscriber to America Magazine “Preach” is made possible through the generous support of the Compelling Preaching Initiative, a project of Lilly Endowment Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

Download The Sound 228 Radio app --> Apple or Android We talk with the Mike and Marlowe from the band Party at The Moontower about the release of some unfinished material after the tragic passing of their singer, Kennon. Get your merch Here! Social Links Here. We Are New Rock!!!

Tova Friedman was just six years old when she walked out of Auschwitz.  Now, 80 years later, Tova is devoted to speaking about her experiences as a child survivor of the Holocaust and being vocal about the threat of antisemitism. She knows how easily a society can transition from burning books to burning people, and she is determined to ensure that never happens again. Tova speaks to audiences worldwide–in person and on the social media platform TikTok, where she has amassed over half a million followers. Listen to Tova's harrowing, miraculous testimony of survival, as part of a live recording at the Weizmann National Museum of American Jewish History in Philadelphia, in partnership with AJC Philadelphia/Southern New Jersey.  Lisa Marlowe, director of the Holocaust Awareness Museum and Education Center (HAMEC), joined us to discuss the museum's mission to bring Holocaust survivors to schools, the importance of teaching history through eyewitness accounts, and the significance of preserving stories of righteous individuals like her Danish great-grandmother, who saved thousands of Jews during WWII. *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC. Photo credit: Christopher Brown Resources: -About Tova Friedman and TovaTok -Holocaust Awareness Museum and Education Center (HAMEC) -AJC Philadelphia/Southern New Jersey Listen – AJC Podcasts: -The Forgotten Exodus: Untold stories of Jews who left or were driven from Arab nations and Iran -People of the Pod Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. Transcript of Interview with Tova Friedman and Lise Marlowe: Manya Brachear Pashman:  Yom HaShoah, Israel's Holocaust Remembrance Day, begins on the evening of April 23. To mark this remembrance, our broadcast this week features our recent live event at the Weitzman National Museum of American Jewish History in Philadelphia. There I had a conversation with Lise Marlowe, of the Holocaust Awareness Museum and Education Center in suburban Philadelphia and author and Holocaust survivor Tova Friedman.  __ Thank you to all of you for being here today to participate in a live recording of People of the Pod, American Jewish Committee's weekly podcast about global affairs through a Jewish lens. I'm your host, Manya Brachear Pashman. Down here on this end is Lise Marlowe, our partner and organizer of this wonderful event. She is the program and Outreach Director of the Holocaust awareness Museum and Education Center, otherwise known as HAMC in Elkins Park, Pennsylvania, which is just outside here in Philadelphia. She is also a long time teacher who has come up with some quite innovative ways to teach Holocaust history to middle school students. But before we begin and get to all of that, I do want to turn to Lisa for a few minutes. If you could just tell us a little bit about HAMC. What is it? Because we are in a different museum venue now.  Lise Marlowe:   Thank you Manya, and thank you everyone for being here today. So HAMC is America's first Holocaust Museum, which started in 1961 by Holocaust survivor named Jacob Riz, who lost 83 family members to the Nazis. Our Museum's mission is to bring Holocaust survivors to schools and organizations. We believe it's important to give students the opportunity to learn history through an eyewitness. When we host a school program, we tell students that they are the last generation to meet a survivor, and once they hear a survivor's story, it becomes their story to tell. It also becomes their responsibility to speak up and stand up to the Holocaust deniers of the world and to say, I know you're lying because I met a survivor. It's not easy for our survivors to tell their story, but they want to honor the family they lost. And to make sure students know what happened so history hopefully doesn't repeat itself.  Hearing about the rise of antisemitism, seeing hate towards other groups, can bring trauma to our survivors, but our survivors teach students that there are things we can do to stand up to hate. We can remember that words matter, kindness matters, that we can support and help each other when bad things happen. The Holocaust did not begin with concentration camps. It began with words.  Our museum brings hundreds of programs all over the world, so please reach out to us at HAMC.org. Because we believe education is stronger than hate. We find that students are inspired by the messages our survivors tell them, which is to not hate others. Even though they lost everything. Their families, their property, their identity, their childhood, they teach students that hate can only destroy yourself. Manya Brachear Pashman:   Thank you so much, Lise. I met some of Lise's former students who are here in the audience today. You have some really remarkable ways of teaching Holocaust history so that it sticks. I would like to get into that a little bit later. And you also have your own family story to share, and we'll learn more about that later, as she is one of our two guests on today's podcast.  You see, there are three pieces to our podcast today, including the traditional format of a conversation with our guests, which will come later, and then your opportunity to ask questions. But to really comprehend what we discuss, you must first hear the powerful story that our guest of honor, the woman next to me, Tova Friedman, one of the youngest people to emerge from Auschwitz, the Nazi's concentration camp and extermination camp in occupied Poland. You must hear her story first.  Tova has worked tirelessly to share her story in every format possible, to reach the widest audience. In addition to telling her story in person, at venues such as this, she worked with a journalist to produce an accurate and comprehensive memoir, and next month, a young adult version of that memoir will be released.  She's worked with her grandson, Aaron, a student at Washington University, to share portions of her story on Tiktok on a channel called TovaTok, that has about 522,000 followers, and she is here today to reach our podcast listeners. And you. After her presentation, Tova will have a seat once again, and we'll continue the conversation. But right now, it is my honor to turn the mic over to Tova Friedman:. Tova Friedman:   Thank you. I have no notes and I can't sit because I'm a walker. You know, I think better when I walk. I think better on my feet. Let me tell you, a few months ago, I was in Poland. I was invited as a speaker to the 80th commemoration of Auschwitz liberation.  Five years ago, I was there also–75th. And there were 120 Holocaust survivors there with their families and their friends from Auschwitz. This time there were 17 [survivors], and we'll have no more commemoration. We're done. People, the lucky people, are dying from old age. You know, they're, or they're Florida, or they're gone, okay, they're not available.  So what's scary is that many young people will not meet a survivor, and they will be told in colleges and high schools, probably it never happened. It's an exaggeration. You know, the Jews. They want everybody to be sorry for them. That will happen. And that's been happening here and there to my grandchildren.  Right now, I've got eight grandchildren, but two are in colleges, and one is in Cornell. And I got the saddest phone call on Earth. To me it's sad. He got a beautiful Jewish star when we went to Israel. He called me to ask me if he should wear it inside, hidden, or if he should wear it outside. That's so symbolic.  And I said to him, do you want to be a visible Jew, or do you want to be a hidden Jew? Do what you want. I will not criticize you. I know that life is changed from when I went to college. America is different, and I'm just so upset and unhappy that you, at age 18-19, have to go through that. One of my grandkids had to leave the dormitory because of the absolute terrible antisemitism. She is in McGill in Canada, and she has to live by herself in an apartment because even her Jewish friends stopped talking to her. So what kind of a world are we living in? Extraordinarily scary, as far as I'm concerned. That's why I talk. You can hear my voice. I talk as much as I can for a number of reasons. First, I talk in order for those people who were murdered, million and a half children, some of the faces I still remember, and a total 6 million Jews, they cannot be forgotten. They cannot be forgotten.  This is such a wonderful place here that I hear you have classes and you have survivors talking to kids. You take them to schools. I think it's fabulous, but you got to do it fast, because there's just not many of us going to be here for a long time. So one thing is memory.  The other reason I speak is a warning. I really feel that this world is again turning against us. We have been scapegoats all through history. Books have been written. Why? Why this? Why that? Why this? Why that? I can't figure out why. They're jealous, we feel with the chosen people. Oh, my God, it goes on and on. But why us? It started 2000 years ago.  So I'm here to remember, so that all those people didn't just die and became ashes. But we're living in a world where we have to be aware. We have to be aware. You heard statistics that were scary. You know, I didn't even know some of the statistics. That Jews are stopping to use their Jewish last name when they make reservations somewhere? In America.? You know, I remember when I walked out from Auschwitz with my mother. My mother survived, and I'll take you back and just give me a certain amount of time. What happened? She said to me, remember I was exactly six and a half years old. And I do, I remember. And one of the reasons I remember is because my mother was a big talker. Talker just like I am. I inherited it from her. She would tell me everything. We were in all kinds of conditions. And I'd say, Mom, what is that? She says, Yeah, that's the smoke, people are being burned. She didn't say, you know, Oh, it's nothing. Don't worry about it. No, no, no, no. She talked and she talked as long as I was with her, until we were separated. That's why my memory is so sharp, and I always tell the younger generation: stop texting and start talking. Texting, you won't remember anything. It doesn't go into your brain. When somebody talks to you, you will never forget. When your mom or dad says things to you, you will remember them. If they text it to you, it lasts a few minutes and it's gone. So that's why I remember so much.  My mother lost 150 people. She was the only survivor of Auschwitz. The only survivor, brothers, sisters, nieces, nephews, all gone, and she died very young. She died at 45. Her war never ended. Her Auschwitz, she brought with her to America because she just couldn't get over it. My father lost about all his brothers and sisters except two, and he was able to handle life a little bit better, but she wasn't.  In my town, there were hundreds of Jewish children at the end of the war. There were five left. Five. I'm the youngest. That's why I'm still here talking. Two have died, and one is in her 90s, and she doesn't talk much anymore. So I feel like I'm representing an entire town that's gone, just gone. A town that had synagogues and they had football and they had a very vibrant town. Where my mother was a young woman. She was studying. My father was an actor, a singer, and a tailor, so he should have some money, but they were all functioning. It's all gone.  When I went to visit, because I took my grandchildren so they can see, there was no sign the Jews even were there. It's like we disappeared. My memory of the war starts when I was four, not so much before. My parents lived in a very modern town. And because they left the shtetl, my mother wasn't interested in all the religious and the sheitles, and you know, the wigs people used to wear, which, by the way, my daughter now is wearing a wig, which is sort of strange, right?  And they went to live a modern life. As soon as Kristallnacht came, he knew right away that this is not a place for him. And what do you do when you're scared? You go home, you go to your parents. So my mother and father, I was one year old, went back to their parents' home. What did they find there? That they were already in a ghetto.  Now, I remember the ghetto at the age of four, there were lots and lots of people in a tiny apartment, no running water, no bathrooms, no food, no room. So I was under the table. All my memories were under the table. And I knew things that were going on. How did I know? Because I heard it.  You know, a kid at four, four and a half, people make mistakes. The children don't know. Children know everything. They may not be able to verbalize it, but they know. And I knew what was the issue. I knew that they killed children and that I have to be under the table. I knew that. I knew that my grandparents are going to die soon. I heard it. I heard my father talking. I heard my mother talking. I heard the other people talking in the apartment in Yiddish. I still remember the words, oh, they name it. They're taking the elderly. They're taking this.  Well, one day they came in, they took my grandmother, and they shot her, right outside our window, you know, took her outside. You know what's amazing when I think about this? Because I've tried to get some perspective. I've always tried to figure out, how did that happen? Why?  How is it possible? Hitler was brilliant, and if he wasn't brilliant, he had brilliant people helping him. Idiots could not have done what he did. They were educated people. He had therapists. He had a nutritionist. And you know what they said, break up the family, and you will break up people. People die when their family is killed, they die sometimes physically, sometimes emotionally. Listen, I'm a grandmother. I have eight grandchildren. I know what it means to be a grandmother in my role, and I'm sure many of you feel the same way. So they took away the elderly.  One day, my father comes in, and he says to my mother, I just put them on the truck. I know what he meant. I was exactly four and a half because I was standing by a table. I could tell my size. The table went up to my chin, and I knew that there were because the day before these people in their 20s and 30s, they were the strong guys. They dug graves for their own parents. We, the Jews, dug graves for our children and our parents.  You know when the Nuremberg Trials came, some of the guys said, we didn't do anything. We never killed any…you know why? Because they used us to kill our own people. So that time, my father told my mother what was going on. He was sitting, his tears were coming down. And I could picture it, because, by the way, whatever I tell you, multiply by hundreds. This was a template, you know, like you have a template on a computer, you just fill in the name and everything is the same. You can fill in all kinds. You apply for a job. There is a special way. That's what happened. The Germans when they came to a town, they didn't have to think what happened. They had the piece of paper, kill the elderly, kill the children, as soon as possible. So I knew. I knew exactly what was going on. I knew that my grandparents were gone, my father's parents, my mother's mother was killed. Her my grandpa died before the war from some disease. He was very lucky. So here we are. One day. I had this uncle, James. He was a German Jew. He spoke a perfect German.  So he thought, look at our minds. He thought, he speaks German. He's going to volunteer. He didn't have working papers, and he was scared to die. His wife, my aunt, she had working papers. So he went to the Gestapo, and he said, I'll be your translator. I speak a perfect German. I was born in German. And they shot him on the spot.  So I remember he used to come and visit us. I sat on his lap one day. My father said, you won't go to see Uncle James anymore. He's not coming back. I didn't say anything. I know he was dead. I didn't know how he was dead. So the reason I'm telling you all the different things is because this happened in every other ghetto.  We were living 16,000 Jews in 250 apartments, and we couldn't go in, and we couldn't get out, except certain people who had privileges. They had working papers, they had special papers. They could go out. That's how the smuggling started. Also, certain people could go out, bring some food, because we were starving. We were starving to such a point. You know why? Because the nutritionist, the PhD, the best nutritionist in Germany, told Hitler how much to feed us in order to die. You want them to die in two months? Give them that much bread. You want them to die in two weeks? Give them that. My town, which was called Tomaszow Mazowiecki, has no Jews anymore. I just wanted to mention the name because my family was there for 200 years, because the Poles in the beginning were very good to the Jews.  They wanted the Jews because we were good business people. Every time the Jews were there, the place thrived. There were close to 100 tailor shops in town, all Jewish. So how could you go wrong? They brought business from everywhere. But now, of course, there isn't anybody. And slowly,  all those people were sent to Treblinka. There were left about 50-60, people, my parents, I among them. There were very few kids left. And we were the cleanup squad. Not only did my father had to dig the graves, I don't think my mother did. My father, dig the graves, but afterwards you have to clean up. You can't leave a town so dirty because they wanted to leave no witnesses. Hitler had an order all the way from Berlin, no witnesses. That's another reason he killed the children. Kids can grow up and be a witness like me, and that was very dangerous for him. Because, you know, it's interesting from the psychological point of view, no matter what atrocities he and his people did, in the back of their mind, they were afraid of the consequences. They were afraid of consequences. That's why you leave no witnesses.  But at that time, my father buried people and he said Kaddish. I didn't know what Kaddish was. I didn't know what being Jewish was. I don't remember any Jewish holidays. I knew that being Jewish means death, but I wasn't sure what that meant, Juden. What is this Juden business? But look at four and a half. I wasn't going to think about it. Anyhow, they moved the camp. We cleaned it up. We came to the next camp, and the next camp was the labor camp. Only work. We worked for more, not me, my parents did, and I want to tell you something about that.  Slowly they did the same exact thing they did in every other camp. People were taken away. The moment you were sick, the moment you were tired, straight into some camp. One day, I heard, I heard– my mother told me, I didn't hear anything. She said they're taking the children, whoever, whatever, there were very few children left, maybe 20-30–we've got to hide you. And she hid me in like a crawl space, like they had these tiles or something. I don't know it was tile, something. And she put me in there, and she followed me, just the two of us, my father didn't get in there. And she put me on her lap, I remember. And she put her hands on my mouth. I shouldn't scream.  I remember it was so tight that for weeks I had blue marks right here. And from the little window, I see where all my friends that I was playing with outside, because my parents were gone a whole day, I was outside with the other kids, put on trucks, but I knew where they were going. They were going to the place where the big graves were dug for them.  So anyhow, when my mother said, we have to hide, we were there for maybe an hour or two. After it was all done, the kids were gone. We went up downstairs in a little room. She said, from now on, you can no longer be on the street. Okay, so I couldn't go out. I stayed in the dark room for a few weeks. It's another story, but one day I remember, and she came every day from work, she gave me food, and I slept with my parents. Because they were in the room with me.  One day, she said, Oh, you don't have to go to the room anymore. I was delighted. I said, I don't have to? No, you can go outside. I haven't been outside for weeks, and I saw she was sort of packing, moving things. We had so few things. I said, What are you doing? She says, We're packing. We're going to Auschwitz. Again, they had, you know, cleaned up the ghetto.  The place was called Starachowice. It was a Polish place. Had a town next to it even, and people who lived around, the non Jews, knew what was going on. They all knew, because there was always a town nearby. There was also a town near Auschwitz. Auschwitz, people lived a normal life there. So anyhow, I knew. I said, Auschwitz. We're going to Auschwitz, okay? I didn't care. I was so happy that I was outside.  Within a very short time, we started walking. The train was waiting. My parents were separated. That's the first time. We were always together. My father was crying, and I remember I was little, so my mother picked me up, because I don't know if anybody of you either have been either to Auschwitz or to New York City. They have the cattle car by the museum, right outside, right. You saw the cattle car and it's that high, very hard to get on it. So she had to pick me up. She put me in and my father said, Be a good girl. I said, Yeah, I'll be a good girl. And he went to another cattle car. I was with my mother, and then a 36 hour drive began, no food, no no food and no drink, very hot, because they were all women. 150 women, and no bathrooms.  And I remember, I said, Mom, I have to go. I have to go. She didn't answer me. And then I said to myself, Oh, I know everybody's going where they're standing. I think that that was a dividing line between being human and being inhuman. We're all dressed like normal kids. I had braids, you know, when we walked out, we were all covered with feces, because everybody was going everywhere. And many people had died, and I am outside standing watching all this going on, and my mother says to me, Get undressed.  And I said, why? It was about July, August. It was summertime. Why? She said to me, they want to check if we're healthy. So I, very obedient, by the way, very, very. My mother taught me rules, and I'll tell you about the rules. So I took off my clothes, and she said, don't look at the eyes of the dogs. Don't look at anybody's eyes, because these the Germans came with their dogs. And When I was by myself, in the in the labor camp, she also taught me, because I was alone, never have eye contact. She said, eye contact will make you recognize and when you see a dog stand still, which is counterintuitive.  I was frightened, terrified of the dogs more than of the Germans, but she said, the dogs will think that you're running away, and they are trained to kill when somebody's trying to run away. So in other words, she always trained me how to be self sufficient, how to recognize danger and what to do with it. So eye contact is pure danger, and running is pure danger. So I learned very, very easily how to do that. So when I'm there, I'm standing very still, the dogs are passing by. And then I say, what's the smell, it stinks here. I said, it stinks. She pointed to the crematorium. They were taking the burning bodies from the gas chamber, and it was all black, and you could smell it. And you know what? She didn't have to say anymore. I knew it. So I remember saying, Mom, how do I look? How do I look? And she said, Oh, you look good. I said, Am I healthy? She said, Yeah, you're very healthy. I said, what about you? Oh, I'm healthy too. She said. And somehow we made it.  I tried to find out. I wrote a book together with a researcher. He tried to research. He lives in England. What happened that day? Every child under the age of 12 or 13 was taken straight to the crematorium. We're useless. Old people, pregnant people, sick people. What is old, 50 and over, because you can't work. Even in Auschwitz, you had to work. Even when you waited for your death, there was some job they gave you. So that you had to be healthy, at least. Anyhow, I don't really know. I was told that we arrived on a Sunday, and Sunday they were the Germans were Christians, so they didn't want to open another crematorium. They had four going. They didn't want the fifth. That's somehow how I and my mother survived. My whole transport, not just me. We were all, you know, a bunch of people. We went to another room. They shaved my head. I remember that very well, because they picked me up and I was, I was quite small, so they picked me up, put me on a bench, and the woman did my hair. And she herself, and I couldn't find my mother, and they gave me some clothes, because they've taken my clothes by the train. And then she found me, and then she took my hand, and we followed a whole bunch of people into Auschwitz proper. This was outside of Auschwitz before you were like, ready, and so you went inside. We got a middle bed, and then she started teaching me again.  She said, you know, there'll be a lot of people here sleeping. More women, so when you're asleep, you can't move around so much, because then everybody else has to move. Okay. And I said, What about if I have to go to the bathroom? She says, No, you can't. That was a terrible thing for me as a child. I had to hold it, because they had it twice a day to the bathroom. And then she said, Look, you're going to get a cup. I didn't get it yet. We were going to be getting a cup, a tin cup, a spoon and a bowl. If tyou lose it, and if somebody steals it, you'll go hungry and you'll die.  She said, they don't look at you. You take out the bowl. Somebody gives you something to eat. Nobody touched it, by the way. I was so aware of it. I just want to go a little fast forward, because I need your questions. I need to know what you want to know. And then one of the things I told you is bathroom for kids. It was hard for me to hold it. Well one day, we were all on line, and I really had to go. So I went in front of the line, and I was in such a hurry that I fell. The way the bathrooms were, I don't know if anybody's been to Auschwitz. The slabs of the boards. It was big, gigantic holes. The holes were like, maybe this size. My grandkids, who are, one of them is 6”2, got the privilege, because of me, to try out those bathrooms.  He sat on it and he said, Grandma, I don't know how you didn't of course, you fell in. He said, It's too big for me. I fell inside. And of course, they got me out and they hosed me down, but I must have picked up some kind of a bug. There were rats there, there were feces up to here. And I got very sick, but I knew that sickness meant death, so I was very careful not to tell anybody, but that somebody saw me, and they said, this child, this child is ill.  And they were so scared of illness, because illness meant death immediately. Because every morning they came, they picked up the dead, the sick, on one of those three wheel things. Wheelbarrow, wheelbarrow, to the crematorium. So I was afraid to be one of them. And then somebody said she's sick. She's going to infect all of us.  They picked me up. I don't remember much about that, because I was really ill, and they took me to one of those places, a hospital, without doctors. When I woke up, I must have had fever, they told me no more. You can't go back to your mother. And that's when they took me to the children's place. For the first time, I saw so many children, I never knew they even existed, and they tattooed me. I remember. They said, Oh, your name is such and such. No, it's 27,633. And the woman said, Say it. Say it. I couldn't say it. I don't know what numbers were. Never went to school, but she was so kind. She taught me. She said it again. She said, just say the words, say the words. And I did it, and I learned.  And she gave me a rag with cold water. She said, press it hard. Don't rub. It'll swell. I was there just about towards the end of the war. But one day, I got a package and it said, Happy sixth birthday. I'm six. I didn't know it. I said, Oh, my mother must be somewhere, and she's alive, because she gave me a package. It was a piece of bread, but I was going to save it until I'm dead. I imagine there's a little girl I'm going to be dying, dying, dying, like everybody is dying, but I won't, because I'll take that piece of bread and I'll eat it. I didn't know anything about bread getting stale. I know nothing about bread, so I remember keeping it here, just like that, because it was on a piece of string. In the middle of the night, rats came, ate up everything, tore my clothing, but they didn't touch me. Miracle. There were a number of miracles that, I should have been dead.  All I can tell you is, within a few weeks, something weird was going on at Auschwitz. I did not know. Terrible noise, terrible shooting. Dogs were barking, and the person who was in charge of us, it was always a kapo, an adult woman, was gone. The door was open, but we didn't dare open the door. We heard the dogs outside, and shooting. We were frightened and we were hungry. There wasn't even the little bit that we got every day, even that wasn't there.  And all of a sudden, the door opens, and my mother–I didn't know it was my mother–a woman comes in full of rags. She looks terrible. She looks around. Nobody's saying a word. She looks around, she looks around, she comes over to me, and she looks at me, and she bends down like on her knees a little bit. She says my name, and she says, You don't know me. I'm your mother. I thought to myself, my mother, she doesn't look like my mother. I only saw my mother six, seven months earlier, but she didn't look anything like it.  She just looked just, I can't even describe it. But she convinced me and listen to what she said. She looked at me. She said, You look like you can survive. Look at me. Her feet were swollen, and she said, listen, we're going to try to hide. We will either survive together or die together. What do you think? I said, I want to be with you. I don't care what. She takes my hand and we snuck, we didn't even have to sneak out because the door was open, but the other kids refused to leave. We were all so frightened, but somehow we got out.  She's walking. She's walking. Outside the dogs are barking. It's terrible. We're walking very close to the barracks, and she comes to a house, door. She walks. She must have had a plan. I didn't know that. And it's a hospital without doctors. All these people are screaming and crying and she goes from bed to bed. She touches everybody. I don't ask a question. And I'm wondering, why is she doing that?  She found a corpse that she liked. It was a corpse of a young woman, maybe twenty, now I look back at it to me, she was an adult, in the 20s, nice, nice looking woman who must have just died because she was warm. So she could manipulate her body. I remember my mother took off my shoes, picked me up, and she said, Listen, don't breathe. I'm going to cover you up. No matter what you hear–because she knew I couldn't see anything–what you hear don't get uncovered. Try to breathe into the ground.  She takes my face, she puts it towards the floor, and she manipulates my body, and she puts me very close to the corpse, and then she covers it up, and outside, you only see the head of the woman who died, and her hands, and her hands are holding like the blanket, so you can't see. All of a sudden, I can hear screaming and yelling. I don't move. I obey orders. And I can hear steps. I remember the steps, and somebody stopped, and I say to myself, Oh, I'm going to stop breathing. I stopped breathing. I was afraid that the blanket would move. Well, I just couldn't anymore.  The person walked away, and then screaming and yelling went on, I didn't move. And all of a sudden I smelled smoke, and I said, How can I not get uncovered? In the beginning, I still breathed very shallow, but I couldn't. And I said, I'll have to get uncovered to get air. And then all of a sudden, my mother pulls the blanket off me and says in Yiddish, they're gone. The Germans are gone. And she must have hidden with another corpse. And when I sit up in the bed, all these people have been hiding with other corpses. And in order to get out, they were pushing the corpses off the beds, so the corpses were flying everywhere, you know, while the people who were hidden under the corpses. So she says to me, come. I couldn't find my shoes, so I walked without and she takes my hand, and we were all walking. It was January 25, 1945. Germans have all gone. Taken with them, 50,000 people. Other people were just dying everywhere, and the Russians had not come yet. The Russians came two days later.  So we had two days inside the camp, without anybody, without the Germans. And we waited until they came, but there was electrified still. We couldn't get out. There was electricity everywhere. So we waited till the Russians came. And while we were standing by the barbed wires, I saw all these soldiers jump off trucks, and they were doing something with electricity. Then they could open the doors. And it was January 27 the liberation of Auschwitz, where children, whoever was left, was left. But many were in the process of dying, and you couldn't stop it.  Hundreds and hundreds of people died while the Russians were there, because you couldn't stop whatever they had, you know. And I remember, the Russians said, show us your number. Some kids were standing there. There's a picture of it, and I'm standing in front showing my number. And I'm talking for all the kids who didn't make it to that day. So thank you for listening.  Did I take too much time? I'm sorry.  Manya Brachear Pashman:   I don't think you can take too much time sharing that story. I know that there's so much more to share.  So many miracles, Tova. Tova Friedman:   Yes. Manya Brachear Pashman:  You have spent most of your adult life sharing your story to advance Holocaust education, and I'm curious what was the catalyst for that? Did someone ask you to share your story? Tova Friedman:   I tried to talk to people when I came to America. Because my teachers, I could read. I didn't go to school till I was 12. So I wanted to tell them why, but nobody heard me. Nobody cared. Nobody wanted to talk about it. But one day, when my oldest daughter was 15, she said to me, they're looking for a Holocaust survivor in school. Can you come to my class? That's how I started. Manya Brachear Pashman:   And then your grandson, many years later, introduced you to this thing called Tiktok, right? Tova Friedman:   I didn't know what Tiktok was because my daughter worked for a candy company called Tic Tac. You know the Tic Tac that you eat, the little white things that you have, like they make noise and stuff. So that's her company. Well, it's not her. She works for them. So I said to my son, what would a candy company be interested in the Holocaust? It's the same word. In fact, I still don't know the difference. Tik tok? Tic Tac? Manya Brachear Pashman:  Tic Tacs. Tova Friedman:   Tic Tac and TikTok? Manya Brachear Pashman:  Yes. Right, that's what you're on, TikTok. Tova Friedman:   A refugee is always a refugee. So he said to me, we had Shabbos dinner in his house, and he said, Can you give me two minutes? I said, Of course. He said, Just tell me something about yourself. Two minutes, because the people who are going to hear it have a two minute span. They can't listen to more than two minutes. I said, What should I say? Anything? Okay, my name and two minutes. Goes very quickly. And then all of a sudden, a half hour later, he said, people are interested. I said, what people? He said, on this. I said, on what?  You have a phone in your hand. What are they, who? And that's how it started. He first explained to me the system, what it means, and he got questions. He said, Would you like to answer the questions? I said, Who's asking? You know, I mean, I'm not in the generation of social media. I don't even have Facebook. I don't know any of that stuff. So he explained to me, he taught me, and he's very good at it. He's a wonderful guy. He's now 20. He's at WashU. And he became the person who's going to try to keep it going. Manya Brachear Pashman:   Well, your presence on Tiktok is really this wonderful, really, very innovative way of reaching people, of reaching young people, Jewish and non-Jewish. Tova Friedman: Right. Manya Brachear Pashman:   Lisa, you've come up with some unusual ways to reach young people. You were a middle school teacher until two years ago. Is that right? But you had this project where you had your students draw stick figures, and this was more than two decades ago when you started this. Can you tell us a little bit about the stick figures, which is like the polar opposite of Tiktok, but just as innovative?  Lise Marlowe:   So when I started teaching the Holocaust, and the first thing you say is 6 million Jews were murdered just for being Jewish, I realized the number did not shock students. I mean, it was sad, and they were empathetic, but the number 6 million…when we think about this generation and our sports heroes and our celebrities making millions of dollars, 6 million didn't sound like a big number. So at the time, I just had students take out a piece of paper and draw 20 stick figures across the paper. And to keep doing that for five minutes to see how many we could draw in five minutes. And my class, on the average, could draw, almost all of our elementary schools and middle schools in five minutes time, thousands of stick figures in five minutes time. And then the next day, when I went to my lesson, I'm teaching the Hitler's rise to power, one of my students stopped me and said, Wait, Mrs. Marlowe, aren't we going to draw stick figures? And I said, What do you mean?  And she said, Well, I went home and I talked to my grandmother, and the other students were jealous that we're drawing stick figures. And I think if we get together, my church and all of our friends, we pull together, I think we can draw 6 million. Tova Friedman: Wow.  Lise Marlowe:   And I said, you want to do this? And she said, Yes, I want to do that. So it warms my heart that every year I had hundreds and hundreds of students drawing stick figures, mostly not Jewish students. We are in a very diverse community in Shawnee school district, one of the most diverse in the state, mostly students of color, and I had them handing me in 1000s of stick figures every week, it covered our whole entire gym floor. And when I retired, sadly, we did not get to all the children, because we know 1.5 million children were murdered.  There was 1.6 million children to start with, and that means 94% of all the Jewish children were murdered in Europe, and we did not reach that milestone. And that shows that 6 million is a big number. And I have students like, you know, they're in their 30s and 40s now, who will always stop me on the street and say, did you get to 6 million. They always remember that's that project, and I have to, sadly tell them, we didn't even finish the children. Manya Brachear Pashman:   Tova, I would say that teaching is your side gig, right? You certainly have done so much to advance education, but professionally, you're a therapist, and I'm curious if your experience, your lived experience, has informed how you communicate with your patients? Tova Friedman:   I think it does. You know, to me, time has been always of essence. Time is the only thing we have. Money comes and goes. You look at the stock market. Tight now, it goes. Sometimes it goes up, sometimes it goes down. Time is the only thing. Once you lose it, it's done.  So when I get a therapist, that's how I always thought, because timing to me, like, how many people just died that didn't have the time, like those 6 million people that you drew. And the children, how much they could have accomplished, had they had time, right? Time was taken from them. So when I get a client, the first thing I say, listen, we're not going to be here forever. We're not going to sit and talk about your parents and your grandparents. Five years from now, you'll be able to maybe. No, it's going to be time-limited, and it's going to be quick. And you have to accept my style, or there's so many people who love having you for 10 years. I need 10 weeks or less.  That means that their goals, you accomplish them. I'm a little tough, and I say I'm not going to hold your hand, even if I could. I can't anymore because of COVID and because a lot of it is on Zoom. But even when I had them in my office, I said, I will not be a therapist who's going to sympathize, sympathize, sympathize. I'll sympathize for five minutes, then we're going to work. And a lot of people will say to me, Oh, that's exactly what I needed, somebody to really push me a little bit. I said, Yeah, but that's the way it's going to be.  And others say, Wow, you're a mean person. I don't want to want to be here. I said, there are hundreds of other therapists. So yes, Holocaust has taught me, eat it fast, or somebody else will take it. I'm sorry, but also that's one thing. But let's talk about the good things. This is good too, but. My degree was in gerontology, because Hitler was, that's the most vulnerable in our society.  You know, the elderly become alcoholics. Loneliness is among the elderly, financial issues. You know, loneliness is a killer. And I worked with the elderly to help them. I felt that's, that's the people that are sort of redundant. So that's where I worked with. I did it for years. And then I went to other age groups. I feel that my experience gives them courage.  You know, come on, come on. Let's do it. Try it. Don't worry. What can happen? What can happen if you speak to your to your father or to your mother and you say this and this, what can happen? In my mind, I said–I don't tell them that, and don't say I said that–I said there are no gas chambers here. So just you know, in my mind, I said, the consequences are minor, so let's do it. And it works. Manya Brachear Pashman:   And I wondered if it was the level, the level of trauma, pales in comparison to what you went through?  Tova Friedman:   No, no. Manya Brachear Pashman:   That's what I was wondering.  Tova Friedman:   I feel that every trauma is different than, you know. You can't say, Well, my foot hurts, and it's so, big deal. So your foot hurts, my two feet hurt. No. Every pain deserves a healing, even if it's a little toe, it deserves it. And I take it very seriously. Most clients don't know about me, hopefully. I don't talk about anything personal. But I'm a little bit, you know, we don't have time on this earth. Let's make it as good as possible.  Manya Brachear Pashman:   Thank you, thank you for sharing that. Lisa, I want to ask about your family, about your great grandmother's efforts. She was not Jewish, but she saved thousands of Jews in Denmark, and I'm curious how that story was passed down in your family. Lise Marlowe:   So I started learning the Holocaust at a very young age, because my grandfather was from Denmark, and he actually fought against the Nazis for the Danish Navy, and he would share with me how his mother rescued Jews in boats, in fishing boats, and take them to Sweden. And I never really heard that story before. And I was able to go to Denmark and go to Sweden and do more research. And I learned that she was actually the editor of Land of Folk newspaper, which was a major resistance newspaper. 23 million copies were given out secretly to make sure that people knew what was happening. But I was so proud, you know, being Jewish that my non-Jewish side of my family helped to rescue people, and I think it really helped me with the work that I do now, and standing up, and social justice, that's always been a passion of mine, and I think just her story inspired me to stand up for others. And they literally saved 99% of the population by getting them to Sweden. And it's really a truly heroic story that's not told that much. But the Danish people, if you ask them, they're very humble, and their attitude is, it's what people are supposed to do. So I'm just very proud of that Danish heritage.  Tova Friedman:   Do you think that their king or something has something to do with it? Leaders? Tell me about that? Lise Marlowe:   It's a myth, right, that King Christian wore a Jewish star. He did say, if the Nazis require our Danish Jewish people to wear the star, I will wear it with the highest dignity. Along with my family. And Danish people didn't treat the Jews as the other. They considered them their friends and their neighbors, and that's why they did what they did.  Tova Friedman: Wonderful.  Lise Marlowe:   They didn't see them as the other, which is such an incredible lesson to teach students.  Tova Friedman: Yes, yeah. Manya Brachear Pashman:   Preserving these stories is so important, your experiences. Have you witnessed as lasting an effort to preserve the stories and pass down the stories of the righteous among us, like your great grandmother. And I ask you both this question, is it as important? Tova Friedman:   I think it's, you know, Israel, there is this wonderful, in Yad Vashem, the big museum, there's a whole avenue of the righteous. You know, I ask myself, what would I do if my family would be in danger in order to save somebody else, and the answer is, I don't know. But I am so utterly amazed that people do that. And there are many–well, not enough–but this is very impressive, your story, and I would love to learn. I don't know the answer, what separates one person from the other, that one is selfless and looks at humanity and one only at their own families?  I wish some studies would be done and so forth. Because we have to do something right now. We are now considered the others. You know, we are, in this world, all over Europe, except, ironically, not in Germany. I was in Germany, and I spoke to German kids, high school kids in German. I didn't know I knew German. I just got up and I saw they were trying so hard to understand. I had an interpreter, and I didn't understand the interpreter. And I said, Let me try. Let me try. I speak Yiddish fluently and German a little bit like that. Also, I lived three years in Germany, so I didn't speak it, but it must have come into my head. And do you know what they did after my speech? 250 kids? They came over. They apologized. I mean, they're a generation separated. I went to Dachau, where my father was, and there were two women whose parents or grandparents were Nazis, and they said to me, we're dedicating our entire life to preserve this Dachau andcamp and and they they have, they give talks and Everything, because my family killed your family, but they admit it. So right now, Germany has laws against it. But what about the rest of the world? What's happening in America? So I would love to know how the Danish did that. It's a wonderful story. It makes your heart feel good, you know. Thank you for the story. Lise Marlowe:   I would just add, the survivors we have today were the children who survived, right? Most of the adults are gone. And they were the hidden children. And most of them were hidden by non-Jewish people. Actually, all of them were. The Catholic Church, a farm lady, you know, who said, she took kindness on them. So you know, the hidden children were mostly hidden by non-Jewish people in terms of the righteous of the nations. Manya Brachear Pashman:   Thank you both so much for your insights. This has been a really illuminating conversation.  If you missed last week's episode, be sure to tune in for my conversation with AJC Chief Policy and Political Affairs Advisor Jason Isaacson, about legacy of the 2015 Iran Nuclear Deal, the U.S. withdrawal from that deal in 2018, and Iran's dangerous stockpiling of uranium that's getting them closer to nuclear weapons capabilities. You can also listen to our latest episode about the impact of Pope Francis on Jewish-Catholic relations. From April 27-29, 2025, we will be at AJC Global Forum in New York City. Join American Jewish Committee (AJC) and over 2,000 committed activists at the premier global Jewish advocacy conference of the year. After the horrific attack on October 7, 2023, and in this fraught moment for the global Jewish community, escalating threats worldwide underscore the importance of our mission. All who care about the fate of the Jewish people, Israel, and the values of the civilized world must respond now with action, urgency, and resolve. If ever there was a time to stand up and be counted, that time is now. Your voice is needed now more than ever.  If you won't be with us in person, you can tune into the webcast at AJC.org/GlobalForum2025.  

00:00 More on the Nuggets loss.13:00 Chris Marlowe joins the show to talk Nuggets.32:25 More on the Avalanche loss.

Talking with poet, editor, and literary trickster anon Jasper Ceylon on the art of aesthetic sabotage and poetics in the age of algorithm. From anonymous pen names to deliberate hoaxes published to destabilize the contemporary poetry scene, Jasper dissects the decay of literary standards, using his surreal, very funny and on point fake poetry journal Echolalia, as a critical manifesto serving as both scalpel and mirror. A self-described poetry fan first and foremost, Jasper satirizes the very world he inhabits, exposing identity-first editorial gatekeeping and the global flattening of taste. We talk about the ghost networks of the contemporary (poetry) world, the process in his rebellion; building a complete parallel poetic narrative world to dupe the editors. Instagram poetry and grievance studies, Jasper doesn't pull punches but neither is he cynical. A romantic dissident who wants to save humanity from an algorithm-dominated life of flattening dullness and mediocrity. We go deep on the state of publishing, the cult of identity, AI's role in human (poetic) deadness, on the the fun polarizing Edward De Vere theory of Shakespearean authorship, the disappearance of true literary dissent, and the neoliberal endgame of cultural homeostasis. On men and marginalization, the phobia of criticism in artistic spaces, and the tragedy of becoming cosmopolitan in the most banal sense. On the poetics of evil, on Vanessa Place, the battle between light and dark, the oversupply of menstruation poems and apocalypse. On breaking free of guardrails on the true task of poetry: not to comply, but to break the spell.On Mission And I am conversely just trying to…help people live well, see through some of this programming, make more informed choices, not create infrastructure that isolates people and demoralizes them under the guise of uplifting others. I'm trying to, if anything, onboard people to poetry, but to just get them to think very critically about the practices we currently have in place at this point in time right now.On Being A Poet But.. you just have to understand that as a poet you're gonna fly under the radar for a long while, potentially maybe your whole life. And if you're not cool with that, then become an Instagram poet. But if you wanna do something meaningful and you want to, actually take a serious go at this. You gotta be ready for a lot of disappointment upfront and potentially for the rest of your life.On Poetics of Evil / Vanessa PlaceTo promote evil as the great sort of aesthetic agenda - I would promote the exact opposite… I don't think crucifying people and institutions…under the guise of demonstrating strength is what we're trying to do here, because what is strength, quote unquote in artistic endeavor.Save it for the f*****g battlefield…I think it gets so messy when you take that on as your primary aim, as a creative you're really just a soldier in disguise. And those types can sometimes conceal it very well, but I think they're doing a gross injustice to their fellow man On The Polarizing Debate surrounding Edward De Vere as Shakespeare The De Vere stuff, because no one will listen to me talk about this anytime I try to talk about this in person, to anyone.They give me that same look like they're just mortified. That I would suggest a country bumpkin couldn't write the the most immortal works in our language. But you even post this stuff on 4Chan's lit. board and all that, and they would just melt down over this idea.  What seems more realistic? A highly educated, noted poet of nobility with tons of money and connections to the most famous and let's say, accomplished academics in the London circles like Francis Bacon and stuff like that. It's either that guy doing this or a country bumpkin who can't even sign his own name.Jasper's Post Script Additional Notes and LinksMy scorn for Vanessa Place is limitless. But for those interested in the essay discussed in the interview, and the theories that drive some of the very worst figures in poetry and culture-manipulation, consult the following: https://www.academia.edu/2778740/Radically_Evil_Poetics. And maybe treat yourself to one of Place's wretched Yoko Ono-esque conceptual art performance pieces while you're at it.But for a more entertaining diversion re: Shakespeare, avail yourself to some of Alexander Waugh's YouTube content on Edward de Vere (there's a lot of it).For a short-hand summary of the de Vere case, see: https://shakespeareoxfordfellowship.org/top-reasons-why-edward-de-vere-17th-earl-of-oxford-was-shakespeare/. And for a supremely autistic (schizophrenic, maybe?) look at some of the finer details underlying the conspiracy, you might watch something like the following video: Henrie IX: Shakespeare, Edward de Vere, and Henry WriothesleyIn some ways, the potential "easter eggs" of this theory and de Vere's hidden lines in the sonnets and such inspired the ones I hid within Echolalia Review that are waiting to be discovered. Lastly, I cited John Donne at one point as being involved in the Rosicrucian collaborative aspect of the theory (along with Bacon and Marlowe), but I meant John Dee.Pick up a copy of: Echolaliapere ube pressJasper Ceylon SubstackJasper Ceyon BiographyEqual parts “Ezra Pound if he were a Discord user” and 21st-century Ern Malley, Jasper Ceylon takes inspiration from the titans of English-language poetry, as well as its great satirists and provocateurs. As a poet, he's been published extensively in magazines worldwide under his own name and many pen names, including “Adele Nwankwo,” “B. H. Fein,” and “Dirt Hogg Sauvage Respectfully.” He's the author of Pere Ube's literary cherry bomb/megaton nuke, "Echolalia Review: An Anti-Poetry Collection," but he's also been traditionally published as a novelist and critic. Get full access to Leafbox at leafbox.substack.com/subscribe

On this week's epsiode, we discuss Love and Other Conspiracies by Mallory Marlowe and spoiler alert - we both loved this! The romance was SO adorable and we loved the addition of conspiracy theory talk because who doesnt love a Big Foot conspiracy ?If you are looking for something fun and sweet this book is the perfect one to pick up!

In the long lineup of fictional hard-boiled detectives, Philip Marlowe stands out as one of the earliest and best. Raymond Chandler's creation first reached print in the early 1930s, then went on to memorable adaptations in film, television, and of course radio. "The Adventures of Philip Marlowe" had a solid four-year run of well over 100 episodes on CBS. Still, a handful of recordings are lost today.  Now Project Audion recreates one of these missing episodes - "The Quiet Number" - directly from the original script, exactly seventy-five years after it was broadcast. "The Quiet Number" wasn't penned by Chandler, but we meet the son of the man who wrote this and most of Marlowe's other radio adventures. Then our transcontinental voice cast performs this gritty story of lost love in a hot Los Angeles summer via a live transcription that sounds just like 1949. Our versatile voice actors were: Andy Hartson-bowyer in Virginia Richard Durrington in Idaho Gary Layton in Texas Lothar Tuppan in California Kristen James in Nevada Holly Adams in New York Kyle Bonn in Oregon Larry Groebe produced and directed from Texas Learn more about your ad choices. Visit megaphone.fm/adchoices

00:00 Nikola Jokic... player/coach?8:50 Scott Hastings hops on.17:25 Connor McGahey joins the show to talk Avs.30:15 Chris Marlowe hops on.

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews for 2025. This week we have murder and fight scenes with blood a plenty too on stage with the Royal Shakespeare Company's production of Christopher Marlow's Edward II with description by Professional Audio Describers Julia Grundy and Ellie Packer.  About ‘Edward II' When the new King Edward II insists on ruling with the man he loves by his side, conspiracy and civil war threaten the very existence of the monarchy in Marlowe's violent and tender play. I see your love to Gaveston will be the ruin of the realm and you.' The King is dead, long live the King. And his boyfriend. When Edward II insists on ruling with the man he loves by his side, the Palace refuses. The establishment conspires to restore the natural order, plunging the country into a civil war and threatening the very existence of the monarchy. Better a dead king than a gay king. Double Olivier Award-winner and RSC Co-Artistic Director Daniel Evans returns to the stage with a cast including Eloka Ivo as Gaveston and Ruta Gedmintas as Queen Isabella in Daniel Raggett's production of Marlowe's violent and tender play. For more about access at the Royal Shakespeare Company including details of audio described performances of their productions do visit - https://www.rsc.org.uk/your-visit/access  (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Contains: Gore, Elements of Body HorrorPart 3 of the Season 1 Campaign Finale.The Invisible Man, Dr. Jekyll/Mr. Hyde, Johnathan Harker, Carmilla, and Marlowe confront Dracula at his final coffin...Support us on Patreon: https://www.patreon.com/DnDarkPodcastMerch available at: https://www.dndarkpodcast.com/storehttps://ratethispodcast.com/dndarkInstagram: https://www.instagram.com/dndark_podcast/Tiktok: https://www.tiktok.com/@dndark_podcastReddit: https://www.reddit.com/r/DnDarkPodcast/Facebook: https://www.facebook.com/dndarkpodcastCast:Crypt Keeper (GM) - Danger Dan JerzJack Griffin, The Invisible Man - Grayson NormanJohnathan Harker - Jordan NelsonDr. Henry Jekyll/Mr. Edward Hyde - Fabrice from Dread and BreakfastCountess Millarca "Carmilla" Karnstein - Journee PapellionOriginal Music:"Lets All Have a Ball" by Ryan Whyte Maloney and Tony Carboney"The Vampyre"/"The Prince of Death" by Alexander Lapko"The Alchemist/The Charlatan" by CloudRoad MusicAdditional Music:Necrotic Suite B by Monument StudiosNominate us for the 2025 CRIT Awards! Vote Here: https://forms.gle/edQebZun5J6TJR1B6 Our Suggested Submissions: https://docs.google.com/document/d/1iUXTa0nwcpSLQ6OvjiCJ9Lr_rpKEy7bIhB4c9gON34o/edit?usp=sharing

This episode dives into the weird and wacky world of Christopher Marlowe---or does it?Actors:James Lucas--Sir Toby Belch, Dogberry, Lear's FoolDoll PIccotto--Maria, Verges, King Lear

Journalist and Author Lara Marlowe, who will deliver the annual lecture to the arts and humanities faculty of University College Dublin on Wednesday evening, joined Pat on the show this morning.

U Guys, current Elder Cunningham standby in Broadway's The Book of Mormon, Noah Marlowe is here! Noah started his professional career at age 10, playing the role of Michael Banks in the Broadway production of Disney's Mary Poppins. Now he is standing by for a principal role in one of Broadway's biggest hits. In this episode, we touch on everything from being a child actor, to swinging on mid-show for one of Broadway's biggest roles. Noah shares about his experience leaving a collegiate program early to make his Broadway debut, and what it means to navigate the current landscape while acting in a long running show. Noah is the sweetest, U don't wanna miss this episode! Follow Noah on Instagram: @noah.marlowe Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

Hörspielklassiker · Das berühmte «Marlowe» in New York hat seine besten Tage gesehen, so auch seine Dauergäste: vorwiegend alleinstehende Damen unbestimmbaren Alters. Witwen, Geschiedene oder Abgeschobene. Auf den Fluren des Hotels schwärmen sie von reizenden Männern, terrorisieren ihre Kinder, spionieren sich gegenseitig aus und pflegen ihre Lebenslügen. | Mit Helmut Stange, Ruth Hausmeister, Renate Grosser, Christa Berndl, Barbara Nüsse, Louise Martini u.a. | Aus dem Amerikanischen von Friederike Roth | Komposition: Peter Zwetkoff | Bearbeitung und Regie: Irene Schuck | BR 1991 | Podcast-Tipp: Uwe Timm Ikarien - Ein Stunde-Null-Roman: https://1.ard.de/uwe-timm-ikarien

Tracy Marlowe champions the power of women. In 2008, with a newborn at home, she founded Creative Noggin, a fully remote advertising agency designed to empower women with fulfilling careers while balancing family life. She believes a supportive, women-centric culture drives success—for employees, clients, and the world. Under her leadership, Creative Noggin has grown from $100K in first-year sales to over $7M, proving that a human-centered workplace benefits both people and business. CONNECT WITH HER https://www.creativenoggin.com Subscribe to this channel now! https://www.youtube.com/user/lunidelouis/?sub_confirmation=1 ---------------------------------------------------- Join our exclusive Facebook group @ https://www.facebook.com/groups/339709559955223 --------------------------------------------------- Looking for accountability to do your morning routine -- join us tomorrow morning, it's FREE: https://bestmorningroutineever.com/ ----------------------------------------­­­­­­­-------------

How far does corruption reach? A single pencil, sharpened to a point, sends a shiver down Marlowe's spine. The message is clear: stay out. But for a man with a code, some lines can't be crossed. Dive into a world where cops and criminals dance a dangerous tango, and a good deed might get you killed. Tune in. ⭐ Join my Patreon ⭐ https://patreon.com/barcud Go here for a library of ad-free stories, a monthly members only story and early access to the regular stories I put out.  You can choose to have ghost stories only, or detective stories or classic literature, or all of them for either $5 or $10 a month.  Many hundreds of hours of stories. Who needs Audible? Or, if you'd just like to make a one-off gesture of thanks for my work https://buymeacoffee.com/10mn8sk Learn more about your ad choices. Visit megaphone.fm/adchoices

Ian Leslie posted his ‘64 Reasons To Celebrate Paul McCartney' in 2020 and the viral reaction to its piercing and original points encouraged him to write ‘John & Paul: A Love Story In Songs'. Do we need another Beatles book? We do if it's this one! It's exceptionally good and highly recommended. The conventional wisdom for decades was that John was the tormented, anti-establishment genius and Paul the effortlessly tune-churning, bourgeois poser. Ian's book points up that their deep devotion to each other and telepathic, close relationship was the root of the supernatural partnership that made those songs possible. The two of them were, as he puts it, “the bubble within the bubble – and the deeper you get, the more mysterious the story becomes.” He talks to us here about …  … their powerplays and their underlying rivalries for the leadership of the group. … why the Beatles were in another league - “like Shakespeare versus Johnson or Marlowe”. … how a songwriting duo where both wrote words and music gave them an extraordinary advantage. … the writing of Yesterday and John's fear that Paul might no longer need the group and leave. … Paul's discovery of his “superpowers” between ‘64 and '66. … how current groups now have “intimacy councillors” and in any other band the unmanageable Lennon would have been ejected. … In My Life, Hey Jude and other songs they wrote about each other. … how there was “an element of their fathers about them, of stiff upper lip” and displays of physical affection were rare. … Paul as “the omnivorous culture-vore” in avant garde London while John was horizontal in suburbia. … why Paul's pace and creativity must have been psychologically punishing for the others. … and how the emotional landscape shifted with the arrival of Yoko and Linda. Order Ian's book here:https://www.amazon.co.uk/John-Paul-Story-Beatles-decades/dp/0571376118Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Ian Leslie posted his ‘64 Reasons To Celebrate Paul McCartney' in 2020 and the viral reaction to its piercing and original points encouraged him to write ‘John & Paul: A Love Story In Songs'. Do we need another Beatles book? We do if it's this one! It's exceptionally good and highly recommended. The conventional wisdom for decades was that John was the tormented, anti-establishment genius and Paul the effortlessly tune-churning, bourgeois poser. Ian's book points up that their deep devotion to each other and telepathic, close relationship was the root of the supernatural partnership that made those songs possible. The two of them were, as he puts it, “the bubble within the bubble – and the deeper you get, the more mysterious the story becomes.” He talks to us here about …  … their powerplays and their underlying rivalries for the leadership of the group. … why the Beatles were in another league - “like Shakespeare versus Johnson or Marlowe”. … how a songwriting duo where both wrote words and music gave them an extraordinary advantage. … the writing of Yesterday and John's fear that Paul might no longer need the group and leave. … Paul's discovery of his “superpowers” between ‘64 and '66. … how current groups now have “intimacy councillors” and in any other band the unmanageable Lennon would have been ejected. … In My Life, Hey Jude and other songs they wrote about each other. … how there was “an element of their fathers about them, of stiff upper lip” and displays of physical affection were rare. … Paul as “the omnivorous culture-vore” in avant garde London while John was horizontal in suburbia. … why Paul's pace and creativity must have been psychologically punishing for the others. … and how the emotional landscape shifted with the arrival of Yoko and Linda. Order Ian's book here:https://www.amazon.co.uk/John-Paul-Story-Beatles-decades/dp/0571376118Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Ian Leslie posted his ‘64 Reasons To Celebrate Paul McCartney' in 2020 and the viral reaction to its piercing and original points encouraged him to write ‘John & Paul: A Love Story In Songs'. Do we need another Beatles book? We do if it's this one! It's exceptionally good and highly recommended. The conventional wisdom for decades was that John was the tormented, anti-establishment genius and Paul the effortlessly tune-churning, bourgeois poser. Ian's book points up that their deep devotion to each other and telepathic, close relationship was the root of the supernatural partnership that made those songs possible. The two of them were, as he puts it, “the bubble within the bubble – and the deeper you get, the more mysterious the story becomes.” He talks to us here about …  … their powerplays and their underlying rivalries for the leadership of the group. … why the Beatles were in another league - “like Shakespeare versus Johnson or Marlowe”. … how a songwriting duo where both wrote words and music gave them an extraordinary advantage. … the writing of Yesterday and John's fear that Paul might no longer need the group and leave. … Paul's discovery of his “superpowers” between ‘64 and '66. … how current groups now have “intimacy councillors” and in any other band the unmanageable Lennon would have been ejected. … In My Life, Hey Jude and other songs they wrote about each other. … how there was “an element of their fathers about them, of stiff upper lip” and displays of physical affection were rare. … Paul as “the omnivorous culture-vore” in avant garde London while John was horizontal in suburbia. … why Paul's pace and creativity must have been psychologically punishing for the others. … and how the emotional landscape shifted with the arrival of Yoko and Linda. Order Ian's book here:https://www.amazon.co.uk/John-Paul-Story-Beatles-decades/dp/0571376118Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The South African scene wouldn't be what it was without community - and there were arguably no stronger examples than the metal and punk communities that spanned the country. While there was friendly competition, there was ultimately support and collaboration at every turn.That's the era I came up in, and so talking with these three friends was not only a hilarious treat, but also very meaningful as we reconnect after some 20 years.I'll let the episode do the talking...PESTROY:https://www.youtube.com/channel/UCTydtWH0kF2VQlV_DP3MFuQhttps://open.spotify.com/artist/3baf1D1VQZUemM5vrukbLW?si=zNQxpOh9Srub4qOPBOT7vwhttps://music.apple.com/gb/artist/pestroy/25487573016STITCH:https://youtu.be/3XglpfkD2wI?si=VvEwoiWLYa0TASxiNEWTOWN KNIFE GANG:https://www.youtube.com/@newtownknifeganghttps://music.apple.com/gb/artist/newtown-knife-gang/437204292MARLOWE:13 videosPlay allhttps://open.spotify.com/artist/4ZY49Da5Jtv8pfmea1XWdu?si=AkZRbZG8Q0iFKHp9g_zz3Ahttps://music.apple.com/gb/album/lines-from-the-broken-telephone/1377206148HOKUMhttps://www.youtube.com/@HOKUMBANDSAhttps://open.spotify.com/artist/06zsO0gfNuux6sp6vSYRBV?si=XoSrJ-gbSmyoOmUc883J4ghttps://music.apple.com/gb/artist/hokum/379976432 Hosted on Acast. See acast.com/privacy for more information.

Listen Ad Free https://www.solgood.org - Listen to hundreds of audiobooks, thousands of short stories, and meditative sounds.

Can a young Marlowe survive as second mate for the ill-fated ship Judea? Joseph Conrad, today on The Classic Tales Podcast.   Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   Joseph Conrad was a bit of an adventurer, and today's story is autobiographical.   And now, “Youth: a narrative”, by Joseph Conrad   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

Can a young Marlowe survive as second mate for the ill-fated ship Judea?  Joseph Conrad, today on The Classic Tales Podcast.   Welcome to this Vintage Episode of The Classic Tales Podcast. Thank you for listening.   If you'd like to ensure the future of The Classic Tales, please visit the website, classictalesaudiobooks.com, and either make a donation, buy an audiobook, or pick up one of our many support options.   And if you can't support us monetarily, leave us a review or share an episode with a friend. It all helps.   Joseph Conrad was a bit of an adventurer, and today's story is autobiographical.   And now, “Youth: a narrative”, by Joseph Conrad   Follow this link to become a monthly supporter:       Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise.  Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radical challenge that pushed English playwrights to break with the past in enormously generative and provocative ways. 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

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise.  Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radical challenge that pushed English playwrights to break with the past in enormously generative and provocative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise.  Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radical challenge that pushed English playwrights to break with the past in enormously generative and provocative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise.  Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radical challenge that pushed English playwrights to break with the past in enormously generative and provocative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise.  Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radical challenge that pushed English playwrights to break with the past in enormously generative and provocative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise.  Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radical challenge that pushed English playwrights to break with the past in enormously generative and provocative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Pamela Allen Brown joins Jana Byars to talk about The Diva's Gift to the Shakespearean Stage (Oxford University Press, 2022), which traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters.  By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise.  Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radical challenge that pushed English playwrights to break with the past in enormously generative and provocative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

Not everyone gets along with their family members, and literature is no exception. Jeanette Tran, associate professor of English at Drake University, explores one play that may give some answers. Jeanette Tran is a scholar of early modern English Literature. She has published on major early modern dramatists—Shakespeare, Marlowe, and Fletcher—and more recently on the […]

Case Closed begins with The Indian Giver, from The Adventures Of Philip Marlowe this week. That story aired August 13, 1949. (29:51) We close the show with Yours Truly, Johnny Dollar, and The Weather Or Not Matter, from July 15, 1962. https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/CaseClosed934.mp3 Download CaseClosed934 | Subscribe | Spotify | Support Case Closed

Join Mary Jo (Pines), Kellie (Pluto), and special guests Ella Cesari and Charley Marlowe of the podcast Mystery Shack Lookback as they discuss the third episode of Pinky and The Brain's second season (and the failed pilot of Zalgar the Brain Eater), Plan Brain From Outer Space! This strange episode follows The Brain corresponding with his intergalactic pen pal, Zalgar, who is secretly trying to consume his brain (cause that's what his diet consists of, apparently). When Zalgar reveals his true intentions to the mice, Brain and Pinky must work together to outsmart the cerebrum-consuming alien, with Brain employing his wits and Pinky applying his love of sci-fi pop culture. Mystery Shack Look Back Info!http://mysteryshacklookback.libsyn.com/ Twitter: http://twitter.com/mysteryshackpod Ella CesariInstagram: https://www.instragram.com/drawnwithoutrefPortfolio: https://ellacesari.weebly.comThe Matrix Reclamations: A Queer Fancast: https://zencastr.com/The-Matrix-Reclamations-A-Queer-Fancast Phantom of the Paradise Fanzine: https://potpzine.carrd.co/The Pretzel Theater: https://www.instagram.com/pretzeltheaterco/Charley Marlowehttp://www.youtube.com/c/CharleyMarlowe Contact Us!Email: thepoitcast@gmail.comTwitter: @poitcastTumblr: poitcast.tumblr.comCover Art by @mygames19Opening Theme Song  arranged by ComposerrClosing Theme Song arranged by Ian Knowles

Join Steve and Marlowe in thisinterview with author Phil Smith as they discuss his book "Eco-Eerie: TV and Movies of the Haunted Generation" available now through Temporal Boundaries Press. https://www.patreon.com/LostFuturesPod⁠⁠⁠⁠  Rate⁠⁠ us on Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/lost-futures-a-mark-fisher-podcast/id1685663806⁠⁠⁠⁠⁠⁠ ⁠⁠⁠ ⁠⁠⁠Spotify:⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/0EnwNGZijCDZVIl5JtjwGT⁠⁠⁠ Follow⁠⁠⁠ us on Twitter: @lostfuturespod Theme Song By: EvilJekyll Art/animation by: Gregory Cristiani

Dylan Scott and Dylan Marlowe stop by to talk about their song about to go no, 1, touring together and they perform "Go Tell It On The Mountain". Can Eddie take home another championship in the first Easy Trivia of the Year? Bobby shares a list of predictions made in 1925 About 2025 and we discuss which actually came true. In Fun Fact Friday, Bobby shares the crazy thing that Presidents get for free. In the Anonymous Inbox, a listener needs help after a friend asked them to recommend them for a job at her work...but she doesn't think her friend would be a good fit.See omnystudio.com/listener for privacy information.

Marlowe is hired to find a missing house on New Year's Eve.Original Air Date: December 31, 1949Originating in HollywoodStarring: Gerald Mohr as Philip MarloweSupport the show monthly at https://patreon.greatdetectives.netSupport the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesFollow us on Twitter @radiodetectivesJoin us again tomorrow for another detective drama from the Golden Age of Radio.

Enjoy this year's 46 of 46 Christmas special where we put an Adirondack spin on beloved Christmas classics.This year I chose the classic, "Rudolph the Red Nosed Reindeer" story.Meet "Marlowe the "Blue Antlered Moose" and his friend Picket the beaver as they go from misfits to heros by saving distressed ice climber on Christmas Eve. Merry Christmas everyone!Visit my website:www.46OUTDOORS.comwww.46OF46.comFollow on Instagram & Facebook@46of46podcast@jamesappleton46Looking for help improving your physical fitness and mental toughness for hiking and life, so you can become the strongest version of yourself on and off the trail? Book a free strategy call with James to learn more about his 1-on-1 coaching program, SEEK TO DO MORE atwww.seektodomore.com Order my new bookAdirondack Campfire Stories: Tales and Folklore From Inside the Blue LineOrder LinksAmazon LinkBarnes & Nobles LinkIndieBound Link

What does it mean to be called an “upstart crow”? In 1592, a pamphlet titled Greene's groats-worth of witte described William Shakespeare, in the first allusion to him as a playwright, with this phrase, calling him “an upstart crow, beautified with our feathers.” This phrase sparked centuries of speculation. As Darren Freebury-Jones explores in his book, Shakespeare's borrowed feathers: How early modern playwrights shaped the world's greatest writer, Shakespeare's so-called borrowing was neither unusual for the time nor a weakness—it was ultimately a testament to his genius. Exploring how Shakespeare navigated a competitive theatrical scene in early modern England, Freebury-Jones reveals the ways in which Shakespeare reshaped the works of contemporaries like John Lyly, Thomas Kyd, and Christopher Marlowe into something distinctly his own. By combining traditional literary analysis with cutting-edge digital tools, he uncovers echoes of Lyly's witty comedies and gender-bending heroines, Kyd's tragic revenge dramas, and Marlowe's powerful verse in Shakespeare's early plays. This episode sheds light on Shakespeare's role as a responsive and innovative playwright deeply embedded in the early modern theatrical community. Listen in to learn more about the influences on the “upstart crow” as he created a canon of timeless works. Dr Darren Freebury-Jones is author of the monographs: Reading Robert Greene: Recovering Shakespeare's Rival (Routledge), Shakespeare's Tutor: The Influence of Thomas Kyd (Manchester University Press), and Shakespeare's Borrowed Feathers (Manchester University Press). He is Associate Editor for the first critical edition of The Collected Works of Thomas Kyd since 1901 (Boydell and Brewer). He has also investigated the boundaries of John Marston's dramatic corpus as part of the Oxford Marston project and is General Editor for The Collected Plays of Robert Greene (Edinburgh University Press). His findings on the works of Shakespeare and his contemporaries have been discussed in national newspapers such as The Times, The Guardian, The Telegraph, The Observer, and The Independent as well as BBC Radio. His debut poetry collection, Rambling (Broken Sleep Books), was published in 2024. In 2023 he was elected a Fellow of the Royal Historical Society in recognition of his contributions to historical scholarship.

Originally published in Galaxy Science Fiction magazine, July 1951, the story “Pen Pal” by Stephen Marlowe introduces us to Matilda, a young woman looking for love by submitting letters to a literary magazine. That's something much more common when the story was published in 1951 and probably pretty close to using a dating app these days. When she thinks she's found the love of her life, things get really strange.SOURCES AND REFERENCES FROM THE EPISODE…“Pen Pal” by Stephen Marlowe: https://amzn.to/3AnH3m9= = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: November 01, 2024