Podcasts about Melville

In this episode of Legally Bond, Kim speaks with Bond attorneys Craig Olivo and Ralph Rosella, co-managing members of the newly combined Bond Long Island Office. Craig and Ralph discuss the strategic decisions that brought the Garden City and Melville offices under one roof and the positive impact this move will have on Bond clients in the metropolitan area. Bond Long Island is now located at 68 South Service Road, Melville, New York 11747.

A child therapist from Melville has been accused of sharing sexually explicit videos involving infants on social media and allegedly making inappropriate references to "hands-on touching" in online chat rooms. Nicole Partin Reporting. See omnystudio.com/listener for privacy information.

Agenda: 00:00 – Meta's $14.8B Deal for Scale: The Analysis 05:40 – Will Scale Lose Their $800M ARR? Will All Customers Leave? 13:00 – Who is the Winner from All Scale Customers Leaving? 21:30 – Who Made the Most Money From Scale? 24:00 – LPs Just Got $14B Back. Are They Reinvesting? 26:45 – Chime IPO: The Breakdown 29:20 – Ramp Hits $16B Valuation: Are We Back in 2021? 31:10 – Ramp vs Brex vs Mercury: Who's the Real Winner? 34:00 – Gusto Going Public with $900M in ARR??? 36:40 – Dropbox vs Glean: Can the Old Guard Survive the AI Wave? 38:50 – Is Slack Dead as a Platform? Salesforce Shutdown Slack API? 41:15 – Will China Dominate AI? The Bets Are In 43:00 – S&P Prediction, iPhone Assembly in the US, and Rory's Rants Please read the offering circular and related risks at invest.modemobile.com. This is a paid advertisement for Mode Mobile's Regulation A+ Offering. Past performance is no guarantee of future results. Investing in private company securities is not suitable for all investors because it is highly speculative and involves a high degree of risk. It should only be considered a long-term investment. You must be prepared to withstand a total loss of your investment. Private company securities are also highly illiquid, and there is no guarantee that a market will develop for such securities. DealMaker Securities LLC, a registered broker-dealer, and member of FINRA | SIPC, located at 105 Maxess Road, Suite 124, Melville, NY 11747, is the Intermediary for this offering and is not an affiliate of or connected with the Issuer. Please check our background on FINRA's BrokerCheck.  

Agenda: 00:03 – Circle's IPO: Investors Just Left $BNs on the Table 00:06 – CoreWeave & Circle: Are We Back to Meme Stock Madness? 00:11 – Should Stripe and Databricks Finally Go Public? 00:17 – US Stock Markets: How They DOMINATE the Global Game 00:21 – 50% of Unicorns Are DOOMED. What Happens Now? 00:25 – Founders Fund Just Dropped $1B on Anduril. Why?! 00:29 – What Would You Do If LPs Let You Go Wild? 00:36 – What Missing Out on Millions for Docusign Taught Rory 00:44 – Cursor is 20% of SaaS Spend: The Shocking Data Behind the SaaS Slowdown 00:47 – AI vs. SaaS: The Great Budget War Begins 00:48 – Can AI Take Budget from the Talent Budget or Will It Remain in Software Budgets? 00:56 – SpaceX, Tesla, Neuralink: Elon's Empire After the Firestorm Please read the offering circular and related risks at invest.modemobile.com. This is a paid advertisement for Mode Mobile's Regulation A+ Offering. Past performance is no guarantee of future results. Investing in private company securities is not suitable for all investors because it is highly speculative and involves a high degree of risk. It should only be considered a long-term investment. You must be prepared to withstand a total loss of your investment. Private company securities are also highly illiquid, and there is no guarantee that a market will develop for such securities. DealMaker Securities LLC, a registered broker-dealer, and member of FINRA | SIPC, located at 105 Maxess Road, Suite 124, Melville, NY 11747, is the Intermediary for this offering and is not an affiliate of or connected with the Issuer. Please check our background on FINRA's BrokerCheck.  

#Melville #June

durée : 00:56:29 - Samedi fiction - par : Blandine Masson - Billy Budd, un jeune et beau marin, suscite l'affection de ses chefs et de ses camarades, à l'exception du capitaine d'armes qui veut sa peau.

durée : 00:56:29 - Samedi fiction - par : Blandine Masson - Billy Budd, un jeune et beau marin, suscite l'affection de ses chefs et de ses camarades, à l'exception du capitaine d'armes qui veut sa peau.

Matt Pohlson is the co-founder and Chairman of Omaze, the most insane story in startups that you have never heard. From near death experience to working with Arnold Schwarzenegger, George Clooney and The Pope. Omaze has raised over $200 million for charity by offering once-in-a-lifetime experiences with celebrities and icons. He's a master storyteller, a purpose-driven builder, and one of the most creative entrepreneurs in modern philanthropy. In Today's Episode We Discuss: 00:00 — He Died for 4 Minutes… Then Built a $400M Startup 04:00 — The Magic Johnson Moment That Sparked Omaze 06:30 — From $780 to $1.7M: The Breaking Bad Campaign That Changed Everything 09:00 — Star Wars, Schwarzenegger, and Selling Dreams 13:00 — He Flatlined in Surgery… And Everything Changed 18:00 — How Near-Death Killed Fear and Transformed His Leadership 22:00 — Why Fear Isn't Real — And How to Beat It 24:00 — The $250K Bet That Changed Omaze's Business Forever 27:00 — Launching Houses: The Pivot to $100M+ Revenue 34:00 — The Science of Storytelling: Make the Customer the Hero 38:00 — Why TV Still Works: $35M Ad Spend Secrets 45:00 — How They Almost Went Out of Business—Twice 50:00 — The Deck That Saved Omaze Mid-COVID 53:00 — Loneliness, Therapy, and the CEO Mental Game 55:00 — From Self-Doubt to Self-Love: The Hoffman Process 58:00 — How to Lead With Story, Science, and Soul 1:02:00 — Should Omaze Go Public? Matt's Unfiltered Take 1:05:00 — Addiction, Ambition, and Why Fulfillment Can Kill Hunger 1:10:00 — Revenue Per Employee: $7M a Head! 1:15:00 — Matt's 10-Year Vision: Fortune 500. #1 in Charity. Please read the offering circular and related risks at invest.modemobile.com. This is a paid advertisement for Mode Mobile's Regulation A+ Offering. Past performance is no guarantee of future results. Investing in private company securities is not suitable for all investors because it is highly speculative and involves a high degree of risk. It should only be considered a long-term investment. You must be prepared to withstand a total loss of your investment. Private company securities are also highly illiquid, and there is no guarantee that a market will develop for such securities. DealMaker Securities LLC, a registered broker-dealer, and member of FINRA | SIPC, located at 105 Maxess Road, Suite 124, Melville, NY 11747, is the Intermediary for this offering and is not an affiliate of or connected with the Issuer. Please check our background on FINRA's BrokerCheck.  

Agenda: 00:00 – The Most Unfiltered Episode Ever Begins 03:30 – Does OpenAI Even Matter? Sam Lessin Says Maybe Not. 05:45 – TVPI Is Bullshit?  09:20 – Asset Gatherers vs Real Investors: Who Actually Wins? 12:15 – The Death of the Billion-Dollar VC Fund? 16:00 – Mid-Tier VC Funds Are Getting Annihilated 21:00 – Chime: Great Exit or Missed Opportunity? 27:00 – The War on Relevance: What Companies Truly Matter? 33:00 – If You're Not a Billion-Dollar Company, Do You Even Count? 37:10 – Mary Meeker's AI Report: What Everyone Missed 39:50 – $600B in AI CapEx—Where Is the Revenue?! 43:40 – What Could Trigger the First AI Crash? 51:10 – The Existential Dread Missing in Most B2B Startups 58:30 – Will AI Reduce Your Startup to Just a Pipe? 01:01:10 – IPO Market Is Back: What Actually Matters Now? 01:06:50 – YC Startups at $60M Valuations: How Should You Play It? 01:10:00 – Why 3% Ownership Could Still Work—Maybe 01:11:30 – Will Elon Still Be Tesla CEO by 2027? Place Your Bets 01:14:10 – Will Meta Release a Closed AI Model? And Does It Even Matter? 01:17:30 – The Real Challenge of Managing 11 Companies and 58 Kids Please read the offering circular and related risks at invest.modemobile.com. This is a paid advertisement for Mode Mobile's Regulation A+ Offering. Past performance is no guarantee of future results. Investing in private company securities is not suitable for all investors because it is highly speculative and involves a high degree of risk. It should only be considered a long-term investment. You must be prepared to withstand a total loss of your investment. Private company securities are also highly illiquid, and there is no guarantee that a market will develop for such securities. DealMaker Securities LLC, a registered broker-dealer, and member of FINRA | SIPC, located at 105 Maxess Road, Suite 124, Melville, NY 11747, is the Intermediary for this offering and is not an affiliate of or connected with the Issuer. Please check our background on FINRA's BrokerCheck.    

durée : 01:23:08 - Toute une vie - par : Germaine Rouvre - "Moby-Dick", qui raconte le combat légendaire entre le capitaine Achab et un cachalot géant, fait partie des très grands romans américains. Il est né sous la plume de l'écrivain Herman Melville, né en 1819 et mort en 1891, dont nous découvrons ici la vie et l'oeuvre au micro de Germaine Rouvre. - réalisation : Arlette Dave - invités : Kenneth White Poète et penseur contemporain

Dr. Wallace J. Nichols was a scientist, activist, community organizer, and author helping people reestablish healthier, more creative and regenerative relationships with themselves, each other and their environment through water, wonder, wellness and wildlife. His work has been broadcast on NPR, BBC, PBS, National Geographic and Animal Planet, as well as numerous popular periodicals. His most recent work is Blue Mind: The Surprising Science That Shows How Being Near, In, On, or Under Water Can Make You Happier, Healthier, More Connected, and Better at What You Do. On this episode of Nature Revisited, Wallace delves into his lifelong relationship with water and how it shaped his career and personal philosophy. Drawing inspiration from Melville's Moby Dick, the esteemed neurologist Dr. Oliver Sacks, and much more, Nichols articulates the concept of “Blue Mind”—a state of being that celebrates the serene connection and health benefits that water provides, echoing a sentiment revered across various cultures and spiritual traditions. Wallace's website: www.wallacejnichols.org/ Blue Mind book: https://www.amazon.com/Blue-Mind-Surprising-Healthier-Connected/dp/0316252115 Listen to Nature Revisited on your favorite podcast apps or at https://noordenproductions.com Subscribe on Spotify: https://tinyurl.com/bdz4s9d7 Subscribe on Apple Podcasts: https://tinyurl.com/5n7yx28t Subscribe on Youtube Podcasts: https://tinyurl.com/bddd55v9 Podlink: https://pod.link/1456657951 Support Nature Revisited https://noordenproductions.com/support Nature Revisited is produced by Stefan van Norden and Charles Geoghegan. We welcome your comments, questions and suggestions - contact us at https://noordenproductions.com/contact

Top 4 Topics:- Dr. Chavkin Built an OMFS Empire — While Everyone Else Quit During COVID- Mentorship That Works: What Every New Surgeon Needs to Hear- From Residency to Multipractice Owner: How to Turn Surgical Skills Into Business Success- Knicks To Win In Game 7?!YouTube Link:https://youtu.be/-c9EPYVGYLw Podcast Link:https://spotifycreators-web.app.link/e/CzqaKT76ITb Quotes & Wisdom:“Your success only helps my success. If I don't spend time to make you successful, there's no point in hiring associates.”“Almost like I'm franchised already. But without the doctor, you can't grow.”“People stood outside in the rain for our care. They brought umbrellas. They didn't care, and we would help them.”“At the end of the day, next man up—the show must go on.”“Combining surgical skills with social media is the next level—let's see if it works.”Questions:00:00 Which office location were you at today?(00:54) What should a new surgeon focus on when starting out?(01:39) How was your birthday? Anything special?(02:35) When do you work out?(05:40) Is the Manhattan practice still on track for July?(06:31) How many other oral surgery groups are there on Long Island?(07:42) Where is the new doctor going to be working?(07:58) Was the new office built or taken over?(08:53) Which office would be good to shadow you at?(12:34) What insurance will I be taking at Melville?(13:15) What should young associates do about referrals?(21:16) Was it bittersweet to leave the original Flushing office?(21:26) Why wasn't the previous partnership friendly?(23:28) How long were you with the partner that mentored you?(23:55) Did most of the practice growth occur in the last 5 years?(29:41) Did you go to the Knicks' first playoff game?(30:39) What's the tattoo under your arm?Now available on:- Dr. Gallagher's Podcast & YouTube Channel- Dose of Dental Podcast #145Dr. Chavkin's Watch = Audemars Piguet Royal Oak Offshore Chrono- 5.2025#podcast #dentalpodcast #doctorgallagherpodcast #doctorgallagherspodcast #doctor #dentist #dentistry #oralsurgery #dental #dentalschool #dentalstudent #doctorlife #dentistlife #oralsurgeon #doctorgallagher

After more than 12 years of doing this podcast, it was high time for us to review something by French director Jean-Pierre Melville. Le Samourai was his (and his star, Alain Delon's) homage to '40s Hollywood noir. This crime classic is about Delon's passive hitman, who's either too cool for school...or just doesn't care. In this one-Ryan show, the talk gets into  relating to Delon's loner mindset and solo lifestyle, although not so much his sparse apartment, his constant smoking or his work as a contract killer. Or having a chirpie bird for a roommate. The ending is puzzling...but it might be more understandable when you remember the code of an actual samurai. So put on your white gloves, pull out your heater and prepare for episode #668 of Have You Ever Seen. Melville's film didn't predate the French New Wave, but he himself did. He, Godard, Truffaut, all of 'em could no doubt have been even more prolific back in those days if they had Sparkplug Coffee. Use our "HYES" promo code and you will be able to benefit from a onetime 20% discount. Go to "sparkplug.coffee/hyes". Subscribe to our channel in your app, but also review the podcast and rate it. Find us on YouTube (@hyesellis in the search bar) and do all those things there too. Contact options: email (haveyoueverseenpodcast@gmail.com). Social media: ryan-ellis and @moviefiend51 on Bluesky and Twi-X, with Bev's contact info being bevellisellis and @bevellisellis (on Bluesky and Twi-X).

Join Gill Tiney as she welcomes Patrick Melville for an inspiring conversation about mental health, personal transformation, and the power of community. Patrick shares his remarkable journey from being adopted in Colombia to facing a life-threatening brain tumor, and how these experiences shaped his mission to help others.In this heartfelt episode, Patrick reveals his “H's of Healing” framework and discusses practical approaches to mental resilience. Learn about the importance of focusing on what we can control and the vital role of community support in overcoming life's challenges.This conversation offers valuable insights into mental health awareness, personal growth, and the transformative power of maintaining hope during difficult times. Patrick's story demonstrates how adversity can become a catalyst for positive change and helping others.

Mad Bomber Melville is the long overdue biography of Samuel Melville, a white, working class revolutionary, whose guerrilla bombings of Manhattan skyscrapers, housing government and corporate offices driving the Vietnam War, set in motion a flood of armed revolutionary actions in the United States during the late 1960s and early 1970s. Once imprisoned, Melville became a key organizer and a crucial element of the notorious Attica Prison rebellion, uniting prisoners across racial barriers and making the ultimate sacrifice for revolutionary change. Mad Bomber Melville traces Sam Melville s short life and rapid political development, highlighting a much-needed example of an undying and uncompromising struggle for justice and liberation.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Kelly Scott Franklin, associate professor of English at Hillsdale College, delivers a lecture on the Civil War poetry of Walt Whitman and Herman Melville. This lecture was given at the Hoogland Center for Teacher Excellence seminar, “The Art of Teaching: Upper School Literature” in February 2025. The Hoogland Center for Teacher Excellence, an outreach of the Hillsdale College K-12 Education Office, offers educators the opportunity to deepen their content knowledge and refine their skills in the classroom.See omnystudio.com/listener for privacy information.

Ep. 72 Tessa Melville has been with the Kent Police Department for eight years, though her introduction to law enforcement began much earlier through her stepfather, a police officer, and her mother, a dispatcher. The realities of the job were made very clear before she even started. At just 16 years old, Tessa joined her parents in attending the memorial service for the devastating ambush murders of four Lakewood Police Department officers – known as the Lakewood Four – all of them gunned down as they sat in a coffee shop on a Sunday morning in 2009.With only three months on with Kent PD, Tessa would face her own critical incidents including responding to the scene of the line of duty death of Kent Police Officer Diego Moreno during which she rendered aid to both him and another officer seriously wounded in a crash at the scene. We discuss the lasting impact of this incident on her and how it helped shape her career and her outlook.After three years in patrol, Tessa became a field training officer, a role which she says has been one of her most challenging. A few years later, Tessa joined the Detective Unit to work Special Assault, cases which include sexual assault, domestic violence, internet crimes against children, and elder abuse. Tessa decided to join this unit in part because of her personal experience as a sexual assault survivor. She wanted to bring her learnings and a trauma-informed approach to the work. However, after nearly two years as a detective on this unit, Tessa decided to return to patrol while continuing to investigate some of her cases, the reasons for which we will discuss.We also talk about how she didn't really consider law enforcement as a profession even with her family affiliation. She chose first to go into the military, where she spent five years in the Navy as a Green Side hospital corpsman where she received specialized training in traumatic field care, training she has put to use as a police officer.Thank you, Tessa. You can find Tessa:Instagram: https://www.instagram.com/tessamelville/LinkedIn: https://www.linkedin.com/in/tessa-m-210959114/I would like to honor the service and ultimate sacrifice of Officer Diego Moreno. EOW Sunday, July 22, 2018https://www.odmp.org/officer/23727-police-officer-diego-moreno Thanks for listening to On Being a Police Officer. YOU are what keeps me going.Find me on my social or email me your thoughts:Instagram: on_being_a_police_officerFacebook: https://www.facebook.com/abby.ellsworth.52/YouTube: Abby Ellsworth ChannelAbby@Ellsworthproductions.comwww.onbeingapoliceofficer.com©Abby Ellsworth. All booking, interviews, editing, and production by Abby Ellsworth. Music courtesy of freesound.org

Agenda: 04:34 Chime's IPO Announcement: Who Wins & Who Loses 06:28 The Lopphole That Means Chime Has a Better Business than JP Morgan 10:51 Why Investors Who Invested at $25BN Will Make Money When it IPOs at $12BN 18:59 Are IPOs Dead & The Future of the Late Stage Private Market 27:32 Exits are Larger Than Ever: So What? What Happens? Who Wins? Who Loses? 40:51 Is Europe Totally F******* 43:48 Challenges of Going Public & What Needs to Change? 46:12 OpenAI's Future and Predictions 49:45 Rippling vs. Deel Lawsuit: Is Deel Screwed? 59:28 Why So Many Companies Are About To Become Database Companies 01:08:07 The Future of Salesforce: Buy or Sell? 01:13:28 Quickfire Round Please read the offering circular and related risks at invest.modemobile.com. This is a paid advertisement for Mode Mobile's Regulation A+ Offering. Past performance is no guarantee of future results. Investing in private company securities is not suitable for all investors because it is highly speculative and involves a high degree of risk. It should only be considered a long-term investment. You must be prepared to withstand a total loss of your investment. Private company securities are also highly illiquid, and there is no guarantee that a market will develop for such securities. DealMaker Securities LLC, a registered broker-dealer, and member of FINRA | SIPC, located at 105 Maxess Road, Suite 124, Melville, NY 11747, is the Intermediary for this offering and is not an affiliate of or connected with the Issuer. Please check our background on FINRA's BrokerCheck.    

Robert F McLean was just 19 years old when he enlisted in the U.S. Navy to do his part in WWII. Invited to join the Navy Seals, he declined and enrolled in the U.S.N. Patrol Torpedo Boat School in Melville, R.I. Upon graduation Bob was assigned to Squadron 30, destined for the European Theatre of Operations. Shortly after midnight on June 6, 1944, his squadron became the outermost fighter convoy of the Normandy Invasion. The largest force ever assembled included his Patrol Torpedo Boat 461, a fighter escort. Bob valiantly participated in the fall of Le Havre, France and received a Bronze Star. He also was awarded a Presidential Citation for his squadron's heroic rescue work in the English Channel during the Battle of the Bulge. He also took part in the liberation of the Channel Islands off the coast of France.Heroes Behind HeadlinesExecutive Producer Ralph PezzulloProduced & Engineered by Mike DawsonMusic provided by ExtremeMusic.com

I was delighted to talk to the historian Helen Castor (who writes The H Files by Helen Castor) about her new book The Eagle and the Hart. I found that book compulsive, and this is one of my favourite interviews so far. We covered so much: Dickens, Melville, Diana Wynne Jones, Hilary Mantel, whether Edward III is to blame for the Wars of the Roses, why Bolingbroke did the right thing, the Paston Letters, whether we should dig up old tombs for research, leaving academia, Elizabeth I, and, of course, lots of Shakespeare. There is a full transcript below.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Helen told me what is hardest to imagine about life in the fourteenth century.I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Good news to any publishers reading this. Helen is ready and willing to produce a complete edition of the Paston Letters. They were a bestseller when they were published a hundred years ago, but we are crying out for a complete edition in modern English.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that.Full TranscriptHenry: Today I am talking to the historian, Helen Castor. Helen is a former fellow of Sydney Sussex College in Cambridge. She has written several books of history. She is now a public historian, and of course, she has a Substack. The H Files by Helen CastorWe are going to talk mostly about her book, The Eagle and the Hart, which is all about Richard II and Henry IV. I found this book compulsive, so I hope you will read it too. Helen, welcome.Helen: Thank you very much for having me, Henry.Henry: You recently read Bleak House.Helen: I did.Henry: What did you think?Helen: I absolutely loved it. It was a long time since I'd read any Dickens. I read quite a lot when I was young. I read quite a lot of everything when I was young and have fallen off that reader's perch, much to my shame. The first page, that description of the London fog, the London courts, and I thought, "Why have I not been doing it for all these years?"Then I remembered, as so often with Dickens, the bits I love and the bits I'm less fond of, the sentimentality, the grotesquerie I'm less fond of, but the humour and the writing. There was one bit that I have not been able to read then or any of the times I've tried since without physically sobbing. It's a long time since a book has done that to me. I don't want to spoil it for anyone who hasn't read it, but--Henry: I'm sure I know what you mean. That's quite a sentimental passage.Helen: It is, but not sentimental in the way that I find myself objecting to. I think I really respond viscerally to this sentimentalising of some of his young women characters. I find that really off-putting, but I think now I'm a parent, and particularly I'm a parent of a boy [laughter]. I think it's that sense of a child being completely alone with no one to look after them, and then finding some people, but too late for a happy ending.Henry: Too late.Helen: Yes.Henry: You've been reading other classic novels, I think, Moby Dick?Helen: I'm in the middle of Moby Dick as we speak. I'm going very slowly, partly because I'm trying to savour every sentence. I love the sentence so much as a form. Melville is just astonishing, and also very, very funny in a way I hadn't expected to keep laughing out loud, sometimes because there is such humour in a sentence.Sometimes I'm just laughing because the sentence itself seems to have such audacity and that willingness to go places with sentences that sometimes I feel we've lost in the sort of sense of rules-based sentences instead of just sticking a semicolon and keep going. Why not, because it's so gorgeous and full of the joy of language at that point? Anyway, I'm ranting now, but--Henry: No, I think a lot of rules were instituted in the early 20th century that said you can and cannot do all these things, and writers before that point had not often followed those rules. I think what it has led to is that writers now, they can't really control a long sentence, in the sense that Melville and Dickens will do a long sentence, and it is a syntactically coherent thing, even though it's 60, 70 longer words. It's not just lots of stuff, and then, and then. The whole thing has got a beautiful structure that makes sense as a unit. That's just not obvious in a lot of writing now.Helen: I think that's exactly right. Partly, I've been reading some of the Melville out loud, and having just got onto the classification of whales, you can see I'm going very slowly. Those sentences, which are so long, but it's exactly that. If you read them out loud, and you follow the sense, and the punctuation, however irregular it might be in modern terms, gives you the breathing, you just flow on it, and the excitement of that, even or perhaps especially when one is talking about the classification of whales. Just joyful.Henry: Will we be seeing more very long sentences in your next book?Helen: I think I have to get a bit better at it. The habit that I was conscious of anyway, but became acutely so when I had to read my own audiobook for the first time is that I think I write in a very visual way. That is how I read because mostly it's silent.I discovered or rediscovered that often what I do when I want to write a very long sentence is I start the sentence and then I put a diversion or extra information within em dashes in the middle of the sentence. That works on the page because you can see spatially. I love that way of reading, I love seeing words in space.A lot of different kinds of text, both prose and poetry, I read in space like that. If you're reading to be heard, then the difficulty of breaking into a sentence with, whether it's brackets or em dashes or whatever, and then rejoining the sentence further down has its own challenges. Perhaps I ought to try and do less of that and experiment more with a Melvillian Dickensian onward flow. I don't know what my editor will think.Henry: What has brought you back to reading novels like this?Helen: I was wondering that this morning, actually, because I'm very aware having joined Substack, and of course, your Substack is one of the ones that is leading me further in this direction, very inspiringly, is discovering that lots of other people are reading and reading long novels now too. It reminded me of that thing that anyone with children will know that you have a baby and you call it something that you think only you have thought of, and then four years later, you call and you discover half the class is called that name. You wonder what was in the water that led everybody in that direction.I've just seen someone tweet this morning about how inspired they are by the builder next door who, on the scaffolding, is blasting the audiobook Middlemarch to the whole neighborhood.Henry: Oh my god. Amazing.Helen: It's really happening. Insofar as I can work out what led me as opposed to following a group, which clearly I am in some sense, I think the world at the moment is so disquieting, and depressing, and unnerving, that I think for me, there was a wish to escape into another world and another world that would be very immersive, not removed from this world completely. One that is very recognizably human.I think when I was younger, when I was in my teens and 20s, I loved reading science fiction and fantasy before it was such a genre as it is now. I'm a huge fan of Diana Wynne Jones and people like that.Henry: Oh, my god, same. Which one is your favorite?Helen: Oh, that is an impossible question to answer, partly because I want to go back and read a lot of them. Actually, I've got something next to me, just to get some obscurity points. I want to go back to Everard's Ride because there is a story in here that is based on the King's square. I don't know if I'm saying that right, but early 15th century, the story of the imprisoned King of Scotland when he was in prison in England. That one's in my head.The Dalemark Quartet I love because of the sort of medieval, but then I love the ones that are pure, more science fantasy. Which is your favorite? Which should I go back to first?Henry: I haven't read them all because I only started a couple of years ago. I just read Deep Secret, and I thought that was really excellent. I was in Bristol when I read it quite unwittingly. That was wonderful.Helen: Surrounded by Diana Wynne Jones' land. I only discovered many years into an obsession that just meant that I would read every new one while there were still new ones coming out. I sat next to Colin Burrow at a dinner in--Henry: Oh my god.Helen: I did sort of know that he was her son, but monstered him for the whole time, the whole course of sitting together, because I couldn't quite imagine her in a domestic setting, if you like, because she came up with all these extraordinary worlds. I think in days gone by, I went into more obviously imaginary worlds. I think coming back to it now, I wanted something big and something that I really could disappear into. I've been told to read Bleak House for so many decades and felt so ashamed I hadn't. Having done that, I thought, "Well, the whale."Henry: Have you read Diana Wynne Jones' husband's books, John Burrow? Because that's more in your field.Helen: It is, although I'm ashamed to say how badly read I am in medieval literary scholarship. It's weird how these academic silos can operate, shouldn't, probably don't for many, many people. I always feel I'm on horribly thin ground, thin ice when I start talking about medieval literature because I know how much scholarship is out there, and I know how much I haven't read. I must put John Burrow on my list as well.Henry: He's very readable. He's excellent.Helen: I think I can imagine, but I must go into it.Henry: Also, his books are refreshingly short. Your husband is a poet, so there's a lot of literature in your life at the moment.Helen: There is. When we met, which was 10 years ago-- Again, I don't think of myself as knowledgeable about poetry in general, but what was wonderful was discovering how much we had in common in the writing process and how much I could learn from him. To me, one of the things that has always been extremely important in my writing is the sentence, the sound of a sentence, the rhythm of a sentence folded into a paragraph.I find it extremely hard to move on from a paragraph if it's not sitting right yet. The sitting right is as much to do with sound and rhythm as it is to do with content. The content has to be right. It means I'm a nightmare to edit because once I do move on from a paragraph, I think it's finished. Obviously, my editor might beg to differ.I'm very grateful to Thomas Penn, who's also a wonderful historian, who's my editor on this last book, for being so patient with my recalcitrance as an editee. Talking to my husband about words in space on the page, about the rhythm, about the sound, about how he goes about writing has been so valuable and illuminating.I hope that the reading I've been doing, the other thing I should say about going back to big 19th-century novels is that, of course, I had the enormous privilege and learning curve of being part of a Booker jury panel three years ago. That too was an enormous kick in terms of reading and thinking about reading because my co-judges were such phenomenal reading company, and I learned such a lot that year.I feel not only I hope growing as a historian, but I am really, really focusing on writing, reading, being forced out of my bunker where writing is all on the page, starting to think about sound more, think about hearing more, because I think more and more, we are reading that way as a culture, it seems to me, the growth of audiobooks. My mother is adjusting to audiobooks now, and it's so interesting to listen to her as a lifelong, voracious reader, adjusting to what it is to experience a book through sound rather than on the page. I just think it's all fascinating, and I'm trying to learn as I write.Henry: I've been experimenting with audiobooks, because I felt like I had to, and I sort of typically hate audio anything. Jonathan Swift is very good, and so is Diana Wynne Jones.Helen: Interesting. Those two specifically. Is there something that connects the two of them, or are they separately good?Henry: I think they both wrote in a plain, colloquial style. It was very capable of being quite intellectual and had capacity for ideas. Diana Wynne Jones certainly took care about the way it sounded because she read so much to her own children, and that was really when she first read all the children's classics. She had developed for many years an understanding of what would sound good when it was read to a child, I think.Helen: And so that's the voice in her head.Henry: Indeed. As you read her essays, she talks about living with her Welsh grandfather for a year. He was intoning in the chapel, and she sort of comes out of this culture as well.Helen: Then Swift, a much more oral culture.Henry: Swift, of course, is in a very print-heavy culture because he's in London in 1710. We've got coffee houses and all the examiner, and the spectator, and all these people scribbling about each other. I think he was very insistent on what he called proper words in proper places. He became famous for that plain style. It's very carefully done, and you can't go wrong reading that out loud. He's very considerate of the reader that you won't suddenly go, "Oh, I'm in the middle of this huge parenthesis. I don't know how--" As you were saying, Swift-- he would be very deliberate about the placement of everything.Helen: A lot of that has to do with rhythm.Henry: Yes.Helen: Doesn't it? I suppose what I'm wondering, being very ignorant about the 18th century is, in a print-saturated culture, but still one where literacy was less universal than now, are we to assume that that print-saturated culture also incorporated reading out loud —Henry: Yes, exactly so. Exactly so. If you are at home, letters are read out loud. This obviously gives the novelists great opportunities to write letters that have to sort of work both ways. Novels are read out loud. This goes on into the 19th century. Dickens had many illiterate fans who knew his work through it being read to them. Charles Darwin's wife read him novels. When he says, "I love novels," what he means is, "I love it when my wife reads me a novel." [laughs]You're absolutely right. A good part of your audience would come from those listening as well as those reading it.Helen: Maybe we're getting back towards a new version of that with audiobooks expanding in their reach.Henry: I don't know. I saw some interesting stuff. I can't remember who was saying this. Someone was saying, "It's not an oral culture if you're watching short videos. That's a different sort of culture." I think, for us, we can say, "Oh yes, we're like Jonathan Swift," but for the culture at large, I don't know. It is an interesting mixed picture at the moment.Helen: Yes, history never repeats, but we should be wary of writing off any part of culture to do with words.Henry: I think so. If people are reporting builders irritating the neighbourhood with George Eliot, then it's a very mixed picture, right?Helen: It is.Henry: Last literary question. Hilary Mantel has been a big influence on you. What have you taken from her?Helen: That's quite a hard question to answer because I feel I just sit at her feet in awe. If I could point to anything in my writing that could live up to her, I would be very happy. The word that's coming into my head when you phrase the question in that way, I suppose, might be an absolute commitment to precision. Precision in language matters to me so much. Her thought and her writing of whatever kind seems to me to be so precise.Listening to interviews with her is such an outrageous experience because these beautifully, entirely formed sentences come out of her mouth as though that's how thought and language work. They don't for me. [chuckles] I'm talking about her in the present tense because I didn't know her, but I find it hard to imagine that she's not out there somewhere.Henry: She liked ghosts. She might be with us.Helen: She might. I would like to think that. Her writing of whatever genre always seems to me to have that precision, and it's precision of language that mirrors precision of thought, including the ability to imagine herself into somebody else's mind. That's, I suppose, my project as a historian. I'm always trying to experience a lost world through the eyes of a lost person or people, which, of course, when you put it like that, is an impossible task, but she makes it seem possible for her anyway and that's the road I'm attempting to travel one way or another.Henry: What is it about the 14th and 15th centuries that is hardest for us to imagine?Helen: I think this speaks to something else that Hilary Mantel does so extraordinarily well, which is to show us entire human beings who live and breathe and think and feel just as we do in as complex and contradictory and three-dimensional a way as we do, and yet who live in a world that is stripped of so many of the things that we take so much for granted that we find it, I think, hard to imagine how one could function without them.What I've always loved about the late Middle Ages, as a political historian, which is what I think of myself as, is that it has in England such a complex and sophisticated system of government, but one that operates so overwhelmingly through human beings, rather than impersonal, institutionalized, technological structures.You have a king who is the fount of all authority, exercising an extraordinary degree of control over a whole country, but without telephones, without motorized transport, without a professional police service, without a standing army. If we strip away from our understanding of government, all those things, then how on earth does society happen, does rule happen, does government happen?I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Henry: Good. You went to the RSC to watch The Henriad in 2013.Helen: I did.Henry: Is Shakespeare a big influence on this book? How did that affect you?Helen: I suppose this is a long story because Richard II and The Henriad have been-- there is Richard II. Richard II is part of The Henriad, isn't it?Henry: Yes.Helen: Richard II. Henry, see, this is-Henry: The two Henry IVs.Helen: -I'm not Shakespearean. I am. [laughs]Henry: No, it's Richard II, the two Henry IVs, and Henry V. Because, of course, Henry Bolingbroke is in Richard II, and it--Helen: Yes, although I never think of him as really the same person as Henry IV in the Henry IV plays, because he changes so dramatically between the two.Henry: Very often, they have a young actor and an old actor, and of course, in real life, that's insane, right?Helen: It's absolutely insane. I always separate Henry IV, parts I and II, and Henry V off from Richard II because it feels to me as though they operate in rather different worlds, which they do in lots of ways. My story with the Henry ad, now that we've established that I actually know what we're talking about, goes back to when I was in my teens and Kenneth Branagh was playing Henry V in Stratford. I grew up very near Stratford.At 15, 16, watching the young Branagh play Henry V was mind-blowing. I went a whole number of times because, in those days, I don't know how it is now, but you could go and get standing tickets for a fiver on the day. More often than not, if there were spare seats, you would get moved into some extraordinary stall seats at-- I was about to say halftime, I'm a football fan, at the interval.Henry V was the play I knew best for a long time, but at the same time, I'd studied Richard II at school. The Henry IV plays are the ones I know least well. I'm interested now to reflect on the fact that they are the ones that depart most from history. I wonder whether that's why I find them hardest to love, because I'm always coming to the plays from the history. Richard II and Henry V actually have a lot to show us about those kings. They bear very close relationships with a lot of the contemporary chronicles, whereas the Henry IV ones is Shakespeare doing his own thing much more.Particularly, as you've just said, making Henry IV way too old, and/or depending which angle we're looking at it from, making Hotspur way too young, the real Hotspur was three years older than Henry IV. If you want to make Hotspur and how-- your young Turks, you have to make Henry IV old and grey and weary with Northumberland.Back in 2013, the really intense experience I had was being asked to go for a day to join the RSC company on a school trip to Westminster Hall and Westminster Abbey at the beginning of their rehearsal process, so when David Tennant was playing Richard II and Greg Doran was directing. That was absolutely fascinating. I'd been thinking about Richard and Henry for a very long time. Obviously, I was a long way away from writing the book I've just written.Talking to actors is an extraordinary thing for a historian because, of course, to them, these are living characters. They want to know what's in their character's mind. They want to know, quite rightly, the chronological progression of their character's thought. That is something that's become more and more and more and more important to me.The longer I go on writing history, the more intensely attached I am to the need for chronology because if it hasn't happened to your protagonist yet, what are you doing with it? Your protagonist doesn't yet know. We don't know. It's very dramatically clear to us at the moment that we don't know what's happening tomorrow. Any number of outrageous and unpredictable things might happen tomorrow.The same certainly was true in Richard II's reign, goes on being true in Henry IV's reign. That experience, in the wake of which I then went to see Henry IV, parts 1 and 2 in Stratford, was really thought-provoking. The extent to which, even though I'd been working on this period for a long time, and had taught this period, I still was struggling to answer some of those questions.Then I'd just had the similarly amazing experience of having a meeting with the Richard II cast and director at the Bridge Theatre before the Nicholas Heitner production with Jonathan Bailey as Richard went on stage. That was actually towards the end of their rehearsal process. I was so struck that the actor playing Bolingbroke in this production and the actor playing Bolingbroke in the production back in 2013 both asked the same excellent first question, which is so hard for a historian to answer, which is at what point does Bolingbroke decide that he's coming back to claim the crown, not just the Duchy of Lancaster?That is a key question for Bolingbroke in Richard II. Does he already know when he decides he's going to break his exile and come back? Is he challenging for the crown straight away, or is he just coming back for his rightful inheritance with the Duchy of Lancaster? That is the million-dollar question when you're writing about Bolingbroke in 1399.It's not possible to answer with a smoking gun. We don't have a letter or a diary entry from Henry Bolingbroke as he's about to step on board ship in Boulogne saying, "I'm saying I'm coming back for the Duchy of Lancaster." The unfolding logic of his situation is that if he's going to come back at all, he's going to have to claim the crown. When he admits that to himself, and when he admits that to anybody else, are questions we can argue about.It was so interesting to me that that's the question that Shakespeare's Richard II throws up for his Bolingbroke just as much as it does for the historical one.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Henry: When I left your book, the one thing I thought was that in Shakespeare, the nobles turn against Richard because of his excesses. Obviously, he really dramatizes that around the death of Gaunt. From your book, you may disagree with this, I came away thinking, well, the nobles wanted more power all the time. They may not have wanted the king's power, but there was this constant thing of the nobles feeling like they were owed more authority.Helen: I think the nobles always want more power because they are ambitious, competitive men within a political structure that rewards ambition and competition. The crucial thing for them is that they can only safely pursue ambition and competition if they know that the structure they're competing within will hold.The thing that keeps that structure rooted and solidly in place is the crown and the things that the crown is there to uphold, namely, particularly, the rule of law because if the rule of law starts to crumble, then the risk is that the whole structure collapses into anarchy. Within anarchy, then a powerful man cannot safely compete for more power because an even more powerful man might be about to roll into his estates and take them over. There have to be rules. There has to be fair competition. The referee is there on a football pitch for a reason.The king, in some senses, whether you want to see him as the keystone in an arch that supports a building or whether he's a referee on a football pitch, there are reasons why powerful men need rules because rules uphold their power. What goes wrong with Richard is that instead of seeing that he and the nobles have a common interest in keeping this structure standing, and that actually he can become more powerful if he works with and through the nobles, he sees them as a threat to him.He's attempting to establish a power structure that will not be beholden to them. In so doing, he becomes a threat to them. This structure that is supposed to stand as one mutually supportive thing is beginning to tear itself apart. That is why Richard's treatment of Bolingbroke becomes such a crucial catalyst, because what Richard does to Bolingbroke is unlawful in a very real and very technical sense. Bolingbroke has not been convicted of any crime. He's not been properly tried. There's been this trial by combat, the duel with Mowbray, but it hasn't stopped arbitrarily, and an arbitrary punishment visited upon both of them. They're both being exiled without having been found guilty, without the judgment of God speaking through this duel.Richard then promises that Bolingbroke can have his inheritance, even though he's in exile. As soon as Gaunt dies, Richard says, "No, I'm having it." Now, all of that is unlawful treatment of Bolingbroke, but because Bolingbroke is the most powerful nobleman in the country, it is also a warning and a threat to every other member of the political classes that if the king takes against you, then his arbitrary will can override the law.That diagnosis is there in Shakespeare. It's the Duke of York, who in reality was just a completely hopeless, wet figure, but he says, and I've got it written down, keep it beside me.Henry: Very nice.Helen: Kind of ridiculous, but here it is. York says to Richard, "Take Herford's rights away and take from time his charters and his customary rights. Let not tomorrow then ensue today. Be not thyself, for how art thou a king, but by fair sequence and succession?" In other words, if you interfere with, and I know you've written about time in these plays, it's absolutely crucial.Part of the process of time in these plays is that the rules play out over time. Any one individual king must not break those rules so that the expected process of succession over time can take place. York's warning comes true, that Richard is unseating himself by seeking to unseat Bolingbroke from his inheritance.Henry: We give Shakespeare good marks as a historian.Helen: In this play, yes, absolutely. The things he tinkers with in Richard II are minor plot points. He compresses time in order to get it all on stage in a plausible sequence of events. He compresses two queens into one, given that Richard was married to, by the time he fell, a nine-year-old who he'd married when he was six. It's harder to have a six-year-old making speeches on stage, so he puts the two queens into one.Henry: You don't want to pay another actor.Helen: Exactly.Henry: It's expensive.Helen: You don't want children and animals on stage. Although there is a wonderful account of a production of Richard II on stage in the West End in 1901, with the Australian actor Oscar Asche in it, playing Bolingbroke. The duel scene, he had full armour and a horse, opening night. It was a different horse from the one he rehearsed with. He gives an account in his autobiography of this horse rearing and him somersaulting heroically off the horse.Henry: Oh my god.Helen: The curtain having to come down and then it going back up again to tumultuous applause. You think, "Oscar, I'm wondering whether you're over-egging this pudding." Anyway, I give Shakespeare very good marks in Richard II, not really in the Henry IV plays, but gets back on track.Henry: The Henry IV plays are so good, we're forgiven. Was Richard II a prototype Henry VIII?Helen: Yes. Although, of course, history doesn't work forwards like that. I always worry about being a historian, talking about prototypes, if you see what I mean, but--Henry: No, this is just some podcast, so we don't have to be too strict. He's over-mighty, his sense of his relationship to God. There are issues in parliament about, "How much can the Pope tell us what to do?" There are certain things that seem to be inherent in the way the British state conceives of itself at this point that become problematic in another way.Helen: Is this pushing it too far to say Richard is a second son who ends up being the lone precious heir to the throne who must be wrapped in cotton wool to ensure that his unique God-given authority is protected? Also describes Henry VIII.Henry: They both like fancy clothes.Helen: Both like fancy clothes. Charles I is also a second son who has to step up.Henry: With wonderful cuffs and collars. He's another big dresser.Helen: And great patrons of art. I think we're developing new historical--Henry: No, I think there's a whole thing here.Helen: I think there is. What Henry does, of course, in rather different, because a lot has changed thanks to the Wars of the Roses, the power of the nobility to stand up independently of the crown is significantly lessened by the political effects of the Wars of the Roses, not at least that a lot of them have had their heads cut off, or died in battle, and the Tudors are busy making sure that they remain in the newly subjected place that they find themselves in.Henry then finds to go back to Hilary Mantel, a very, very able political servant who works out how to use parliament for him in rejecting those extra English powers that might restrain him. I do always wonder what Richard thought he was going to do if he'd succeeded in becoming Holy Roman Emperor, which I take very seriously as a proposition from Richard.Most other historians, because it's so patently ridiculous, if you look at it from a European perspective, have just said, "Oh, he got this idea that he wanted to become Holy Roman Emperor," but, of course, it was never going to happen. In Richard's mind, I think it was extremely real. Whether he really would have tried to give the English crown to Rutland, his favorite by the end of the reign, while he went off in glory to be crowned by the Pope, I don't know what was in his head. The difference with Henry is that the ambitions he eventually conceives are very England-focused, and so he can make them happen.Henry: Is there some sort of argument that, if the king hadn't won the Wars of the Roses, and the nobility had flourished, and their sons hadn't been killed, the reformation would have just been much harder to pull off here?[silence]Helen: I wonder what that would have looked like, because in a sense, the king was always going to win the Wars of the Roses, in the sense that you have to have a king. The minute you had someone left standing after that mess, that protracted mess, if he knew what he was doing, and there are arguments about the extent to which Henry VII knew what he was doing, or was doing something very different, whether or not he knew it was different, but there was always going to be an opportunity for a king to assert himself after that.Particularly, the extent to which the lesser landowners, the gentry had realized they couldn't just rely on the nobility to protect them anymore. They couldn't just follow their lord into battle and abdicate responsibility.Henry: Okay.Helen: That's an interesting--Henry: How much should we blame Edward III for all of this?Helen: For living too long and having too many sons?Henry: My argument against Edward is the Hundred Years' War, it doesn't actually go that well by the end of his reign, and it's cost too much money. Too many dukes with too much power. It's not that he had too many sons, he elevates them all and creates this insane situation. The war itself starts to tip the balance between the king and parliament, and so now you've got it from the dukes, and from the other side, and he just didn't manage the succession at all.Even though his son has died, and it really needs some kind of-- He allowed. He should have known that he was allowing a vacuum to open up where there's competition from the nobles, and from parliament, and the finances are a mess, and this war isn't there. It's just… he just leaves a disaster, doesn't he?Helen: I think I'd want to reframe that a little bit. Perhaps, I'm too much the king's friend. I think the political, and in some senses, existential dilemma for a medieval king is that the best of all possible worlds is what Edward achieves in the 1340s and the 1350s, which is, fight a war for reasons that your subjects recognize as in the common interest, in the national interest. Fight it over there so that the lands that are being devastated and the villages and towns that are being burned are not yours. Bring back lots of plunder. Everybody's getting richer and feeling very victorious.You can harness parliament. When things are going well, a medieval king and a parliament are not rivals for power. An English king working with parliament is more powerful than an English king trying to work without parliament. If things are going well, he gets more money, he can pass laws, he can enforce his will more effectively. It's win-win-win if you're ticking all those boxes.As you're pointing out, the worst of all possible worlds is to be fighting a war that's going badly. To fight a war is a big risk because either you're going to end up winning and everything's great, or if it's going badly, then you'd rather be at peace. Of course, you're not necessarily in a position to negotiate peace, depending on the terms of the war you've established.Similarly, with sons, you want heirs. You want to know the succession is safe. I think Edward's younger sons would argue with you about setting up very powerful dukes because the younger ones really-- York and Gloucester, Edmund of Langley and Thomas of Woodstock, really didn't have much in the way of an estate given to them at all, and always felt very hard done by about that. John of Gaunt is set up very well because he's married off to the heir of the Duke of Lancaster who's handily died, leaving only daughters.Henry: That's the problem, isn't it, creating that sort of impact? John of Gaunt is far too rich and powerful.Helen: You say that, except he's unfeasibly loyal. Without Gaunt, disaster happens much, much, much earlier. Gaunt is putting all those resources into the project of propping up the English state and the English crown for way longer than Richard deserves, given that Richard's trying to murder him half the time in the 1380s.Henry: [laughs] For sure. No, I agree with you there, but from Edward III's point of view, it's a mistake to make one very powerful son another quite powerful son next to-- We still see this playing out in royal family dynamics.Helen: This is the problem. What is the perfect scenario in a hereditary system where you need an heir and a spare, but even there, the spare, if he doesn't get to be the heir, is often very disgruntled. [laughs] If he does get to be the heir, as we've just said, turns out to be overconvinced of his own-Henry: Oh, indeed, yes.Helen: -specialness. Then, if you have too many spares, you run into a different kind of problem. Equally, if you don't have a hereditary system, then you have an almighty battle, as the Anglo-Saxons often did, about who's actually going to get the crown in the next generation. It's a very tricky--Henry: Is England just inherently unstable? We've got the Black Death, France is going to be a problem, whatever happens. Who is really going to come to a good fiscal position in this situation? It's no one's fault. It's just there wasn't another way out.Helen: You could say that England's remarkably-- See, I'm just playing devil's advocate the whole time.Henry: No, good.Helen: You could say England is remarkably stable in the sense that England is very unusually centralized for a medieval state at this point. It's centralized in a way that works because it's small enough to govern. It's, broadly speaking, an island. You've got to deal with the Scotts border, but it's a relatively short border. Yes, you have powerful nobles, but they are powerful nobles who, by this stage, are locked into the state. They're locked into a unified system of law. The common law rules everyone. Everyone looks to Westminster.It's very different from what the King of France has been having to face, which has been having to push his authority outward from the Île-de-France, reconquer bits of France that the English have had for a long time, impose his authority over other princes of the realm in a context where there are different laws, there are different customs, there are different languages. You could say that France is in a much more difficult and unstable situation.Of course, what we see as the tide of the war turns again in the early 15th century is precisely that France collapses into civil war, and the English can make hay again in that situation. If Henry V had not died too young with not enough sons in 1423, and particularly, if he'd left a son who grew up to be any use at all, as opposed to absolutely none-- what am I saying? I'm saying that the structure of government in England could work astonishingly well given the luck of the right man at the helm. The right man at the helm had to understand his responsibilities at home, and he had to be capable of prosecuting a successful war abroad because that is how this state works best.As you've just pointed out, prosecuting a successful war abroad is an inherently unstable scenario because no war is ever going to go in your direction the entire time. That's what Richard, who has no interest in war at all is discovering, because once the tide of war is lapping at your own shores, instead of all happening over there, it's a very, very different prospect in terms of persuading parliament to pay for it, quite understandably.You talk about the Black Death. One of the extraordinary things is looking at England in 1348, 1349, when the Black Death hits. Probably, something approaching half the population dies in 18 months. If you're looking at the progress of the war, you barely notice it happened at all. What does the government do? It snaps into action and implements a maximum wage immediately, in case [chuckles] these uppity laborers start noticing there are fewer of them, and they can ask for more money.The amount of control, at that stage at least, that the government has over a country going through an extraordinary set of challenges is quite remarkable, really.Henry: Did Bolingbroke do the right thing?Helen: I think Bolingbroke did the only possible thing, which, in some senses, equates to the right thing. If he had not come back, he would not only have been abandoning his own family, his dynasty, his inheritance, everything he'd been brought up to believe was his responsibility, but also abandoning England to what was pretty much by that stage, clearly, a situation of tyranny.The big argument is always, well, we can identify a tyrant, we have a definition of tyranny. That is, if a legitimate king rules in the common interest and according to the law, then a tyrant rules not in the common interest, and not according to the law. But then the thing that the political theorists argue about is whether or not you can actively resist a tyrant, or whether you have to wait for God to act.Then, the question is, "Might God be acting through me if I'm Bolingbroke?" That's what Bolingbroke has to hope, because if he doesn't do what he does in 1399, he is abandoning everything his whole life has been devoted to maintaining and taking responsibility for. It's quite hard to see where England would then end up, other than with somebody else trying to challenge Richard in the way that Henry does.Henry: Why was he anointed with Thomas Becket's oil?Helen: Because Richard had found it in the tower, [chuckles] and was making great play of the claims that were made for Thomas. This is one of the interesting things about Richard. He is simultaneously very interested in history, and interested in his place in history, his place in the lineage of English kings, going all the way back, particularly to the confessor to whom he looks as not only a patron saint, but as in some sense, a point of identification.He's also seeking to stop time at himself. He doesn't like to think about the future beyond himself. He doesn't show any interest in fathering an heir. His will is all about how to make permanent the judgments that he's made on his nobles. It's not about realistically what's going to happen after his death.In the course of his interest in history, he has found this vial of oil in the tower somewhere in a locked drawer with a note that says, "The Virgin gave this to Thomas Becket, and whoever is anointed with this oil shall win all his battles and shall lead England to greatness," et cetera. Richard has tried to have himself re-anointed, and even his patsy Archbishop of Canterbury that he's put in place after exiling the original one who'd stood up to him a bit.Even the new Archbishop of Canterbury says, "Sire, anointing doesn't really work like that. I'm afraid we can't do it twice." Richard has been wearing this vial round his neck in an attempt to claim that he is not only the successor to the confessor, but he is now the inheritor of this holy oil. The French king has had a holy oil for a very long time in the Cathedral of Reims, which was supposedly given to Clovis, the first king of France, by an angel, et cetera.Richard, who is always very keen on emulating, or paralleling the crown of France, is very, very keen on this. If you were Henry coming in 1399 saying, "No, God has spoken through me. The country has rallied to me. I am now the rightful king of England. We won't look too closely at my justifications for that," and you are appropriating the ceremonial of the crown, you are having yourself crowned in Westminster Abbey on the 13th of October, which is the feast day of the confessor, you are handed that opportunity to use the symbolism of this oil that Richard has just unearthed, and was trying to claim for himself. You can then say, "No, I am the first king crowned with this oil," and you're showing it to the French ambassadors and so on.If we are to believe the chroniclers, it starts making his hair fall out, which might be a contrary sign from God. It's a situation where you are usurping the throne, and what is questionable is your right to be there. Then, any symbolic prop you can get, you're going to lean on as hard as you can.Henry: A few general questions to close. Should we be more willing to open up old tombs?Helen: Yes. [laughs]Henry: Good. [laughs]Helen: I'm afraid, for me, historical curiosity is-- Our forebears in the 18th and 19th century had very few qualms at all. One of the things I love about the endless series of scholarly antiquarian articles that are-- or not so scholarly, in some cases, that are written about all the various tomb openings that went on in the 18th and 19th century, I do love the moments, where just occasionally, they end up saying, "Do you know what, lads? Maybe we shouldn't do this bit." [chuckles]They get right to the brink with a couple of tombs and say, "Oh, do you know what? This one hasn't been disturbed since 1260, whatever. Maybe we won't. We'll put it back." Mostly, they just crowbar the lid off and see what they can find, which one might regret in terms of what we might now find with greater scientific know-how, and et cetera. Equally, we don't do that kind of thing anymore unless we're digging up a car park. We're not finding things out anyway. I just love the information that comes out, so yes, for me.Henry: Dig up more tombs.Helen: Yes.Henry: What is it that you love about the Paston Letters?Helen: More or less everything. I love the language. I love the way that, even though most of them are dictated to scribes, but you can hear the dictation. You can hear individual voices. Everything we were saying about sentences. You can hear the rhythm. You can hear the speech patterns. I'm no linguistic expert, but I love seeing the different forms of spelling and how that plays out on the page.I love how recognizable they are as a family. I love the fact that we hear women's voices in a way that we very rarely do in the public records. The government which is mainly what we have to work with. I love Margaret Paston, who arrives at 18 as a new bride, and becomes the matriarch of the family. I love her relationship with her two eldest boys, John and John, and their father, John.I do wish they hadn't done that because it doesn't help those of us who are trying to write about them. I love the view you get of late medieval of 15th-century politics from the point of view of a family trying to survive it. The fact that you get tiny drops in letters that are also about shopping, or also about your sisters fall in love with someone unsuitable. Unsuitable only, I hasten to add, because he's the family bailiff, not because he isn't a wonderful and extremely able man. They all know those two things. It's just that he's a family bailiff, and therefore, not socially acceptable.I love that experience of being immersed in the world of a 15th-century gentry family, so politically involved, but not powerful enough to protect themselves, who can protect themselves in the Wars of the Roses in any case.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. [chuckles]Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that. There are some very good selections. Richard Barber did one many years ago, and, of course, self-advertising. There is also my book, now more than 20 years old, about the Paston family, where I was trying to put in as much of the letters as I could. I wanted to weave the voices through. Yes, please go and read the Paston Letters in selections, in whatever form you can get them, and let's start lobbying for a complete modernized Paston.Henry: That's right. Why did you leave academia? Because you did it before it was cool.Helen: [laughs] That's very kind of you to say. My academic life was, and is very important to me, and I hate saying this now, because the academic world is so difficult now. I ended up in it almost by accident, which is a terrible thing to say now, people having to-- I never intended to be an academic. My parents were academics, and I felt I'd seen enough and wasn't sure I wanted to do that.I couldn't bear to give up history, and put in a PhD application to work with Christine Carpenter, who'd been the most inspiring supervisor when I was an undergraduate, got the place, thought, "Right, I'm just going to do a PhD." Of course, once you're doing a PhD, and everyone you know is starting to apply for early career jobs, which weren't even called early career jobs in those days, because it was a million years ago.I applied for a research fellowship, was lucky enough to get it, and then applied for a teaching job, utterly convinced, and being told by the people around me that I stood no chance of getting it, because I was way too junior, and breezed through the whole process, because I knew I wasn't going to get it, and then turned up looking for someone very junior.I got this wonderful teaching job at Sidney Sussex in Cambridge and spent eight years there, learned so much, loved working with the students. I was working very closely with the students in various ways, but I wasn't-- I'm such a slow writer, and a writer that needs to be immersed in what I was doing, and I just wasn't managing to write, and also not managing to write in the way I wanted to write, because I was becoming clearer and clearer about the fact that I wanted to write narrative history.Certainly, at that point, it felt as though writing narrative history for a general audience and being an early career academic didn't go so easily together. I think lots of people are now showing how possible it is, but I wasn't convinced I could do it. Then, sorry, this is a very long answer to what's [crosstalk] your question.Henry: That's good.Helen: I also had my son, and my then partner was teaching at a very different university, I mean, geographically different, and we were living in a third place, and trying to put a baby into that geographical [chuckles] setup was not going to work. I thought, "Well, now or never, I'll write a proposal for a book, a narrative, a book for a general readership, a narrative book about the Paxton family, because that's what I really want to write, and I'll see if I can find an agent, and I'll see if I," and I did.I found the most wonderful agent, with whose help I wrote a huge proposal, and got a deal for it two weeks before my son was due. At that point, I thought, "Okay, if I don't jump now, now or never, the stars are aligned." I've been a freelance medieval historian ever since then, touching every wood I can find as it continues to be possible. I am very grateful for those years in Cambridge. They were the making of me in terms of training and in terms of teaching.I certainly think without teaching for those years, I wouldn't be anywhere near as good a writer, because you learn such a lot from talking to, and reading what students produce.Henry: How do you choose your subjects now? How do you choose what to write about?Helen: I follow my nose, really. It's not very scientific.Henry: Why should it be?Helen: Thank you. The book, bizarrely, the book that felt most contingent, was the one I wrote after the Paston book, because I knew I'd written about the Pastons in my PhD, and then again more of it in the monograph that was based on my PhD. I knew having written about the Pastons in a very academic, analytical way, contributing to my analysis of 15th-century politics. I knew I wanted to put them at the center and write about them. That was my beginning point.The big question was what to do next, and I was a bit bamboozled for a while. The next book I ended up writing was She-Wolves, which is probably, until now, my best-known book. It was the one that felt most uncertain to me, while I was putting it together, and that really started from having one scene in my head, and it's the scene with which the book opens. It's the scene of the young Edward VI in 1553, Henry VIII's only son, dying at the age of 15.Suddenly, me suddenly realizing that wherever you looked on the Tudor family tree at that point, there were only women left. The whole question of whether a woman could rule was going to have to be answered in some way at that point, and because I'm a medievalist, that made me start thinking backwards, and so I ended up choosing some medieval queens to write about, because they've got their hands on power one way or another.Until very close to finishing it, I was worried that it wouldn't hang together as a book, and the irony is that it's the one that people seem to have taken to most. The next book after that grew out of that one, because I found myself going around talking about She-Wolves, and saying repeatedly, "The problem these queens faced was that they couldn't lead an army on the battlefield."Women couldn't do that. The only medieval woman who did that was Joan of Arc, and look what happened to her. Gradually, I realized that I didn't really know what had happened to her. I mean, I did know what--Henry: Yes, indeed.Helen: I decided that I really wanted to write about her, so I did that. Then, having done that, and having then written a very short book about Elizabeth I, that I was asked to write for Penguin Monarchs, I realized I'd been haunted all this time by Richard and Henry, who I'd been thinking about and working on since the very beginning of my PhD, but I finally felt, perhaps, ready to have a go at them properly.It's all been pretty organic apart from She-Wolves, which was the big, "What am I writing about next?" That took shape slowly and gradually. Now, I'm going to write about Elizabeth I properly in a-Henry: Oh, exciting.Helen: -full-scale book, and I decided that, anyway, before I wrote this last one, but I-- It feels even righter now, because I Am Richard II, Know Ye Not That, feels even more intensely relevant having now written about Richard and Henry, and I'm quite intimidated because Elizabeth is quite intimidating, but I think it's good, related by your subjects.[laughter]Henry: Have you read the Elizabeth Jenkins biography?Helen: Many, many years ago. It's on my shelf here.Henry: Oh, good.Helen: In fact, so it's one of the things I will be going back to. Why do you ask particularly? I need--Henry: I'm a big Elizabeth Jenkins fan, and I like that book particularly.Helen: Wonderful. Well, I will be redoubled in my enthusiasm.Henry: I look forward to seeing what you say about it. What did you learn from Christine Carpenter?Helen: Ooh. Just as precision was the word that came into my head when you asked me about Hilary Mantel, the word that comes into my head when you ask about Christine is rigor. I think she is the most rigorous historical thinker that I have ever had the privilege of working with and talking to. I am never not on my toes when I am writing for, talking to, reading Christine. That was an experience that started from the first day I walked into her room for my first supervision in 1987.It was really that rigor that started opening up the medieval world to me, asking questions that at that stage I couldn't answer at all, but suddenly, made everything go into technicolor. Really, from the perspective that I had been failing to ask the most basic questions. I would sometimes have students say to me, "Oh, I didn't say that, because I thought it was too basic."I have always said, "No, there is no question that is too basic." Because what Christine started opening up for me was how does medieval government work? What are you talking about? There is the king at Westminster. There is that family there in Northumberland. What relates the two of them? How does this work? Think about it structurally. Think about it in human terms, but also in political structural terms, and then convince me that you understand how this all goes together. I try never to lose that.Henry: Helen Castor, thank you very much.Helen: Thank you so much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Yuhki Yamashita is the Chief Product Officer at Figma, where he leads the development of one of the world's most beloved design platforms. Previously, he was Head of Product at Uber, overseeing the core rider experience used by millions globally. A master of product storytelling and team-building, Yuhki has redefined how world-class digital products are built and scaled. Items Mentioned in Today's Episode:  04:30 – "Simple is Lazy?" — Yuhki Challenges Product Dogma 07:45 – The Secret Behind Figma's New Product Ideas (Hint: Users Hack It First) 09:00 – From Hack Week to Roadmap: How New Figma Products Are Born 10:00 – Are PRDs Dead? Yuhki's Spicy Take on the Death of Specs 12:30 – The ‘Screenshot Test': Can Your Product Explain Itself in 1 Frame? 14:15 – Code Layers and ‘Living Designs'—This Demo Blew Everyone's Mind 15:30 – Designers vs Coders: Who Really Owns the Future of Product? 17:45 – The Most Controversial Product Decision Inside Figma 19:00 – Why Figma's Org Structure Could Kill the PM Role (For Real) 21:00 – Should Everyone Be a Designer and a Builder Now? 23:15 – Will Figma Have Fewer Engineers in 5 Years? 24:00 – Cursor, Windsurf & AI Coding Tools—What Figma Engineers Really Use 25:30 – AI's Dual Power: Lowering the Floor, Raising the Ceiling 27:00 – Figma's Biggest Product Flop? Yuhki Owns It 29:30 – The Magic of Product Storytelling—Even for Boring Compliance Tools 31:00 – Why Joy Must Be in the Product (and How Figma Bakes It In) 33:00 – Does Product Market Fit Even Mean Anything in 2025? 35:30 – Is Great Design Enough? Or Is It ALL About Distribution? 37:15 – Dylan's Secret to Early Growth: Hacking Design Twitter 39:00 – Community Mistakes Startups Keep Making 41:00 – The One Thing Yuhki Wishes He Could Change at Figma 43:00 – Should They Have Launched 4 Products at Once? Time Will Tell 45:00 – When Do You Know a New Product Is Doomed? 46:30 – Why Designers Still Don't Ship What They Design (and How to Fix It) 48:00 – From Uber to Figma: Yuhki's Playbook for Massive Product Swings 53:00 – The Adobe Deal Breakup—How Figma Rallied 56:00 – What Yuhki Needs to Improve as a Leader (His Own Feedback Review) 58:00 – The Product Leader He Admires Most—and Why 59:30 – What Figma Still Gets Wrong About Product Culture Please read the offering circular and related risks at invest.modemobile.com. This is a paid advertisement for Mode Mobile's Regulation A+ Offering. Past performance is no guarantee of future results. Investing in private company securities is not suitable for all investors because it is highly speculative and involves a high degree of risk. It should only be considered a long-term investment. You must be prepared to withstand a total loss of your investment. Private company securities are also highly illiquid, and there is no guarantee that a market will develop for such securities. DealMaker Securities LLC, a registered broker-dealer, and member of FINRA | SIPC, located at 105 Maxess Road, Suite 124, Melville, NY 11747, is the Intermediary for this offering and is not an affiliate of or connected with the Issuer. Please check our background on FINRA's BrokerCheck.

#Melville #Summer

Jen Stein joins Danny Ismond on the GX94 Morning Show to discuss upcoming May events in the city of Melville.

The internet is a balkanization of the populace: Everybody finds those they want to listen to. It is exceedingly difficult to teach somebody whose principal input in his life is through the internet. With a flesh-and-blood pastor, you at least can see his sins, his wife, and his children. Generally, with a pastor, you can't escape his bad smells, but on the internet, everything and everyone is perfect.The most difficult thing you do in ministry is to call your own congregation to repentance. It is easy to talk about the sins of people outside the church, but exceedingly costly to do so to those within the church. Your job is on the line. A godly church will love you for that. But there are a lot of bad congregations—those congregations that like their ears tickled. We should love our pastors when they make us angry with their helpfulness.Yet, if pastors will preach to their congregations, their congregations will lead the world. It is not until we are challenged to submit to Scripture ourselves that we will be salt and light in the world. If there is going to be a Biblical church, the most important thing to do is to keep its discipline vivified. But we'd much rather spend our time fighting people who are opposed to Christianity. NETTR protects the "constituents," and casts stones at the world.***Mentioned in the episode...From Melville's Moby Dick, chapter 8, "The Pulpit": "What could be more full of meaning?- for the pulpit is ever this earth's foremost part; all the rest comes in its rear; the pulpit leads the world. From thence it is the storm of God's quick wrath is first descried, and the bow must bear the earliest brunt. From thence it is the God of breezes fair or foul is first invoked for favorable winds. Yes, the world's a ship on its passage out, and not a voyage complete; and the pulpit is its prow."Fundamentalism and American Culture by George MarsdenC.S. Lewis, from The Last Battle: "By mixing a little truth with it, they had made their lie far stronger."Robert Owen: "All the world is queer, save thee and me, and even thou art a little queer."***Out of Our Minds Podcast: Pastors Who Say What They Think. For the love of Christ and His Church.Out of Our Minds is a production of New Geneva Academy. Are you interested in preparing for ordained ministry with pastors? Have a desire to grow in your knowledge and fear of God? Apply at www.newgenevaacademy.com.Master of DivinityBachelor of DivinityCertificate in Bible & TheologyGroundwork: The Victory of Christ & The Great ConversationIntro and outro music is Psalm of the King, Psalm 21 by My Soul Among Lions.Out of Our Minds audio, artwork, episode descriptions, and notes are property of New Geneva Academy and Warhorn Media, published with permission by Transistor, Inc. ★ Support this podcast on Patreon ★

In 2010, the Association for Information Systems formed a special interest group () to nurture an international community of academics that study the role of digital technologies in fostering environmentally, economically and socially sustainable development. Fifteen years later, we sit down with , the current SIGGreen president, to reflect on the progress we have made. What do we know about how digital technologies help greening our planet? What efforts in empirical, theoretical, and design work is still needed? Is our role to understand the role of digital technologies or do we need to push and enact change ourselves? We conclude that environmental questions and problems are now firmly on the radar screen of our discipline but more work needs to be done for information systems academics to transform the way we think about and use digital technologies.  Episode reading list Corbett, J., & Mellouli, S. (2017). Winning the SDG Battle in Cities: How an Integrated Information Ecosystem can Contribute to the Achievement of the 2030 Sustainable Development Goals. Information Systems Journal, 27(4), 427-461. Seidel, S., Recker, J., & vom Brocke, J. (2013). Sensemaking and Sustainable Practicing: Functional Affordances of Information Systems in Green Transformations. MIS Quarterly, 37(4), 1275-1299. Hasan, H., Ghose, A., & Spedding, T. (2009). Editorial for the Special Issue on IT and Climate Change. Australasian Journal of Information Systems, 16(2), 19-21. Watson, R. T., Corbett, J., Boudreau, M.-C., & Webster, J. (2011). An Information Strategy for Environmental Sustainability. Communications of the ACM, 55(7), 28-30. Jenkin, T. A., Webster, J., & McShane, L. (2011). An Agenda for 'Green' Information Technology and Systems Research. Information and Organization, 21(1), 17-40. Watson, R. T., Boudreau, M.-C., & Chen, A. J. (2010). Information Systems and Environmentally Sustainable Development:  Energy Informatics and New Directions for the IS Community. MIS Quarterly, 34(1), 23-38. Elliot, S. (2011). Transdisciplinary Perspectives on Environmental Sustainability: A Resource Base and Framework for IT-Enabled Business Transformation. MIS Quarterly, 35(1), 197-236. Kahlen, M., Ketter, W., & van Dalen, J. (2018). Electric Vehicle Virtual Power Plant Dilemma: Grid Balancing Versus Customer Mobility. Production and Operations Management, 27(11), 2054-2070. Gholami, R., Watson, R. T., Hasan, H., Molla, A., & Bjørn-Andersen, N. (2016). Information Systems Solutions for Environmental Sustainability: How Can We Do More? Journal of the Association for Information Systems, 17(8), 521-536. Corbett, J., & El Idrissi, S. C. (2022). Persuasion, Information Technology, and the Environmental Citizen: An Empirical Study of the Persuasion Effectiveness of City Applications. Government Information Quarterly, 39(4), 101757. Degirmenci, K., & Recker, J. (2023). Breaking Bad Habits: A Field Experiment About How Routinized Work Practices Can Be Made More Eco-efficient Through IS for Sensemaking. Information & Management, 60(4), 103778. Zeiss, R., Ixmeier, A., Recker, J., & Kranz, J. (2021). Mobilising Information Systems Scholarship For a Circular Economy: Review, Synthesis, and Directions For Future Research. Information Systems Journal, 31(1), 148-183. Haudenosaunee Confederacy. (2025). Values. . The Stakeholder Alignment Collaborative. (2025). The Consortia Century: Aligning for Impact. Oxford University Press. Hovorka, D. and Corbett, J. (2012) IS Sustainability Research: A trans-disciplinary framework for a ‘grand challenge”. 33rd International Conference on Information Systems, Orlando, Florida. Hovorka, D. S., & Peter, S. (2021). Speculatively Engaging Future(s): Four Theses. MIS Quarterly, 45(1), 461-466. Gümüsay, A. A., & Reinecke, J. (2024). Imagining Desirable Futures: A Call for Prospective Theorizing with Speculative Rigour. Organization Theory, 5(1), . Kotlarsky, J., Oshri, I., & Sekulic, N. (2023). Digital Sustainability in Information Systems Research: Conceptual Foundations and Future Directions. Journal of the Association for Information Systems, 24(4), 936-952. Gray, P., Lyytinen, K., Saunders, C., Willcocks, L. P., Watson, R. T., & Zwass, V. (2006). How Shall We Manage Our Journals in the Future?  A Discussion of Richard T. Watson's Proposals at ICIS 2004. Communications of the Association for Information Systems, 18(14), 2-41. Saldanha, T. J. V., Mithas, S., Khuntia, J., Whitaker, J., & Melville, N. P. (2022). How Green Information Technology Standards and Strategies Influence Performance: Role of Environment, Cost, and Dual Focus. MIS Quarterly, 46(4), 2367-2386. Leidner, D. E., Sutanto, J., & Goutas, L. (2022). Multifarious Roles and Conflicts on an Inter-Organizational Green IS. MIS Quarterly, 46(1), 591-608. Wunderlich, P., Veit, D. J., & Sarker, S. (2019). Adoption of Sustainable Technologies: A Mixed-Methods Study of German Households. MIS Quarterly, 43(2), 673-691. Melville, N. P. (2010). Information Systems Innovation for Environmental Sustainability. MIS Quarterly, 34(1), 1-21. Edwards, P. N. (2013). A Vast Machine. MIT Press. Meadows, D. H., Meadows, D. L., Randers, J., & Behrens, W. W. (1972). The Limits to Growth: A Report for the Club of Rome's Project on the Predicament of Mankind. Universe Books. Over the Hedge. (2006). . McPhearson, T., Raymond, C. M., Gulsrud, N., Albert, C., Coles, N., Fagerholm, N., Nagatsu, M., Olafsson, A. S., Niko, S., & Vierikko, K. (2021). Radical Changes are Needed for Transformations to a Good Anthropocene. npj Urban Sustainability, 1(5), .   

Dr. Jeanine Cook-Garard talks about autism, because a new report shows that rates of autism diagnoses have increased.  Health and Human Services Secretary Robert F. Kennedy Jr. said he was determined to find the cause of the rise, including what he calls the ”environmental exposures" behind the rise.  Jeanine talks with Raina Townsend, the CEO & Founder of AutiServe Consulting, an Educational Consulting Business based in Melville that provides support and guidance to special needs children and their families, while expanding community resources.

Invitées : Vivi Féasson et Melville Tilh-PluñvennAnimation et montage : Lam Son Cet épisode n'est pas là pour annoncer la fin de Radio Rôliste, mais pour évoquer la fin en jeu de rôle. Comment terminer une histoire ? Comment faire converger une campagne vers une fin satisfaisante ? Comment programmer une fin ? Comment jouer avec la conscience que ce jeu aura une fin ? Comment jouer des personnages qui ont conscience de leur propre fin, ou de la fin inéluctable de leur monde ? Comment jouer la tragédie, le destin ? Comment écrire des jeux qui embrassent la fatalité et la mortalité ? Le festival de science fiction les intergalactiques a permis de mener l'interview croisée des deux plus grandes tragédiennes depuis que Sophocle a arrêté le jeu de rôle : Vivi Féasson, autrice en particulier de Libreté, et Melville, autrice de Notre crépuscule, un jeu actuellement en précommande aux éditions Dystopia. Libreté est un jeu tragique, écrit au passé, par le survivant d'une enclave constituée par des enfants perdus, un havre de sécurité relative dans un monde mortel. Et on sait que cette enclave a disparu, qu'elle va disparaître au cours de la campagne, à cause de nous ou malgré nous. Libreté avait été chroniqué dans l'épisode #92 de Radio Rôliste. Notre crépuscule est fait pour jouer la fin d'un monde, le monde magique en quinconce du monde prosaïque, celui qui permet la féerie contemporaine. On y joue des sorcières, des êtres d'un grand pouvoir politique, piliers de cette société qui va disparaître. Elles ne peuvent rien contre cette disparition. On joue pour tout ce que cette fin inéluctable rend plus intense, les choix à faire dans ce temps limité, le déni, les promesses, les émotions. Notre crépuscule est en précommande jusqu'au 15 Mai 2025, les précommandes envoyées début juillet, pour une parution publique au 1er septembre. On parle aussi de Autres jeux de Vivi Perdus sous la pluie, voir RR#42Les errants d'Ukiyo Autres jeux de Melville Sur les frontières, voir RR#61Les couleurs de l'amitié, voir RR#116Bois dormant, voir RR#116L'INSURRECTION, voir RR#138Tyst, un roman de Luvan suivit d'un jeu de rôle de Melville Mais aussi Polaris de P.H. Lee, voir RR#46

On this episode of the podcast, host Dr Pasquale Iannone explores the little-known early films of one of the most influential filmmakers of all time, German director Douglas Sirk. Sirk is synonymous with one particular genre. His most famous films, such as Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956) and Imitation of Life (1959) are glossy, luxurious Technicolor melodramas which would go on to inspire the likes of Rainer Werner Fassbinder, Todd Haynes and many others. But there is more to Sirk than melodrama - he made war films, crime movies, historical dramas and comedies in a career spanning over 25 years and several countries. Earlier this year, Eureka Entertainment released a box set titled Sirk in Germany (1934 - 1935), a collection which takes us all the way back to the beginning of Sirk's film career. The set includes beautiful restorations of his first three features as well as several short films, all of which were made in the early years of the Nazi regime. Alongside bonus material from noted film historians Sheldon Hall and Tim Bergfelder, there are three audio commentaries from the University of Edinburgh's very own David Melville Wingrove. David is a Teaching Fellow at the University's Centre for Open Learning where he teaches hugely popular courses on both film and literature, specialising in dark and fantastical themes and styles. He is also a prolific writer, regularly contributing to publications such as Senses of Cinema. David and Pasquale discuss Sirk's first short film Two Greyhounds (1934) and his first feature April! April! (1935), both light comedies centring on mistaken identity which skewer - mostly with affection - the mores of the German middle class. David helps to place the films in historical context and he also tells Pasquale why Sirk, who was very much one of the leading lights of the German theatre in the late 20s and early 30s, decided to make the move into filmmaking.

Nebyl hostem Jednoho procenta poprvé a určitě ani naposled. Tomáš Baránek: spoluzakladatel nakladatelství Melville, které se zaměřuje na takzvané chytré knihy, ať už z oblasti osobního rozvoje, lifehackingu nebo třeba zdraví.O čem jsme tentokrát mluvili? O stárnutí, zralosti, hledání rovnováhy v životě, vztahu k smrti, dlouhověkosti i o tom, jak se Tomáši žije a pracuje v dnešní době plné informací.Přehlédnout byste neměli ani to, že jsme se trochu pohádali kvůli jednomu z nástrojů umělé inteligence. Tomáš je v tomto ohledu spíše opatrným a obezřetným uživatelem. Na druhou stranu, ví dobře, o čem mluví. Jak se rovněž dozvíte, takzvaně na stará kolena se vrátil do školních lavic, konkrétně na brněnskou techniku, na svou alma mater, a studuje právě strojové učení.Doufám, že vás naše povídání nebude nudit. Nebo že vás moc nevyděsí, dost často se nebavíme o úplně veselých věcech.Přeju příjemný poslech!

Jen Stein called in this morning to talk about upcoming events in Melville for Earth Day, a bottle drive for the Scouts, and the National Day of Mourning. #Melville #Saskatchewan listen.streamon.fm/cfgw

What do you do when life throws you two cataclysmic curve balls in a short period of time that fracture your whole identity? My guest today is Lucy Melville. Lucy is a widow, and mother of three young people. Her husband Brian died of stage IV lung cancer in July 2023 just 6 weeks after diagnosis whilst her youngest child was still at school. Just one year after losing her husband, Lucy was unexpectedly made redundant from the job that kept her functioning through her grief.  In this moving and emotional interview, Lucy talks us through the surreal process of finding out about Brian's diagnosis and navigating the speed of his illness and ultimately his death just a short time later. She describes the impact on her and her children of losing the husband and father they adored, and then being rocked again by dealing with both an empty nest as her children left home, and the compounded grief of losing the job (and second ‘work family') that had kept her steady through her bereavement.  Lucy talks honestly about how isolated, invisible, and abandoned she felt at this time in her life, but also the subsequent reinvention after her long dark night of the soul, and finding hope and renewed sense of identity through her new business venture River Light Press.  Listen in to hear Lucy's advice for anyone grappling with difficult times right now, and be inspired by her heroine's journey to light and a new life.  You can find Lucy at https://www.linkedin.com/in/lucymelville and River Light Press at https://www.aurorametro.com/river-light-press/  If you enjoy the podcast please help us grow by sharing this episode with someone who might need to listen or writing us a review. You can also find me at www.thetripleshift.org and www.managingthemenopause.com or connect with me at https://www.linkedin.com/in/emmacthomas/

Film historian Samm Deighan and cult cinema expert Andrew Leavold join Mike to shine a light on Jean-Pierre Melville's Two Men in Manhattan (1959). Often overshadowed by his better-known crime films, this moody noir follows a journalist and a photographer as they comb the streets of New York in search of a missing French diplomat. The trio digs into Melville's fascination with American style, the film's ethically murky characters, and how it fits within the director's larger body of work. They also explore the tension between documentary realism and stylized noir, and why Two Men in Manhattan deserves a second look. Author Ginette Vincendeau (Jean-Pierre Melville: An American in Paris), discusses this unique entry in Melville's filmography. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Film historian Samm Deighan and cult cinema expert Andrew Leavold join Mike to shine a light on Jean-Pierre Melville's Two Men in Manhattan (1959). Often overshadowed by his better-known crime films, this moody noir follows a journalist and a photographer as they comb the streets of New York in search of a missing French diplomat. The trio digs into Melville's fascination with American style, the film's ethically murky characters, and how it fits within the director's larger body of work. They also explore the tension between documentary realism and stylized noir, and why Two Men in Manhattan deserves a second look. Author Ginette Vincendeau (Jean-Pierre Melville: An American in Paris), discusses this unique entry in Melville's filmography. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

John and Ben dive deep into Scam-erican literature this week with the help of friend of the pod and resident Melville expert: Chris Thomas. We discuss Melville's final novel: "The Confidence Man: His Masquerade". Topics of discussion include the trustworthiness of barbers, America's enduring interest in flim-flam artists of all sorts, and the long shadow of Don Quixote. As always, we hope that you enjoy the conversation.

From All Bones Considered: Laurel Hill Stories #073, part 5 George W. Melville was the MacGyver of his day, seemingly creating something out of nothing when the situation called for it. As an engineer he was unsurpassed. He was one of only a few survivors of the ill-fated attempt to reach the North Pole by the ship Jeannette, captained by George DeLong. He then went back to recover the bodies of those who had been left behind. He has a statue at the Naval Yard and was twice painted by Thomas Eakins. 

Isaac Hull led USS Constitution to victory against HMS Guerriere in the early days of the War of 1812. Fellow tour guide Russ Dodge wrote this script but declined the opportunity to narrate it. David Conner worked with Winfield Scott to arrange the largest amphibious assault of the 19th century at Vera Cruz during the Mexican American War. While serving in the African Squadron, Sylvanus Godon captured the slave ship Erie, which led to the return of nearly 900 Africans to their home continent, and the hanging of “Lucky Nat” Gordon, the only man to be executed by the Government for buying and selling human beings. George W. Melville was a genius engineer and Arctic explorer who was among the survivors of the doomed USS Jeannette Polar mission in 1879-1881. Four men who spent their lives on the ocean and had startling tales to tell of their adventures in this month's episode of All Bones Considered: Laurel Hill Stories #073 for April 2025 – Four Naval Heroes: Isaac Hull, David Conner, Sylvanus Godon, and George Melville.

Semana de contrastes y de paradojas la que se abre en un fin de semana en el que las borrascas del cielo quedan atrás, pero las del cine van a seguir inundando las sala de títulos nuevos y de sensaciones dispares. El último frente cinéfilo, el de Blancanieves, sobrevive a las dentelladas de la crítica con grandes datos de taquilla y tendrá que lidiar este fin de semana con otra granizada de estrenos que traen buenas puntuaciones. Min 5: TIERRA DE NADIE (NOTA EDC: 3 estrellas) La película "Tierra de nadie" dirigida por Albert Pintó es una producción española de 2025 protagonizada por Karra Elejalde, Luis Zahera , Jesús Carroza o Vicente Romero Historia de tres viejos amigos. Mateo el Gallego, un heroico -a su pesar- guardia civil, Juan El Antxale, un pescador convertido en narco por la mala suerte y en el paro, y Benito el Yeye, un resignado e inteligente depositario judicial siempre a medio camino entre la ley y la delincuencia. Tres amigos separados por un lugar, Cádiz y un momento, el presente. Atrapados los tres entre el abandono de las instituciones, el violento e imparable ascenso del narco en la provincia y el peligroso aumento del descontento social. Min 11: A WORKING MAN (NOTA EDC: 2,5 estrellas) Levon Cade (Jason Statham) intenta llevar una vida sencilla como trabajador de la construcción y buen padre, dejando atrás su pasado en operaciones encubiertas. Pero cuando Jenny, la hija de su jefe, desaparece, se ve obligado a usar sus letales habilidades para encontrarla. Su búsqueda lo conduce a una oscura conspiración criminal que amenaza con desmoronar su nueva vida. Min 15: POR TODO LO ALTO (4 ESTRELLAS) Película francesa dirigida por Emmanuel Courcol que sigue los pasos de Thibaut, un director de orquesta de renombre internacional que viaja por el mundo. Cuando se entera de que es adoptado, descubre la existencia de un hermano, Jimmy, un empleado de un comedor escolar que toca el trombón en una banda de música en el norte de Francia. Al parecer todo les separa, excepto el amor por la música. Al detectar las excepcionales habilidades musicales de su hermano, Thibaut se propone reparar la injusticia del destino. Jimmy entonces comienza a soñar con otra vida... Min 19: STING: LA ARAÑA ASESINA (3'5 estrellas) En una fría y tormentosa noche neoyorquina, un misterioso objeto cae del cielo y rompe la ventana de un destartalado bloque de apartamentos. Se trata de un huevo del que acaba saliendo una extraña araña. La criatura es descubierta por Charlotte (Ryan Korr), una niña rebelde de doce años obsesionada con los cómics. A pesar de los esfuerzos de su padrastro Ethan (Ryan Corr) por conectar con ella a través del cómic que comparten, Fang Girl, Charlotte se siente aislada. Min 23: UNA BALLENA (3 estrellas) Melville, un contrabandista que maneja mercancías extremadamente raras, quiere eliminar a un poderoso empresario rival que intenta arrebatarle el control del puerto, y sabe que solo Ingrid puede hacer el trabajo. Pero todo cambia cuando Melville descubre el secreto de Ingrid y su misteriosa conexión con el mar. Min 28: LA FURIA ( 3 estrellas) Alexandra es una joven actriz que sufre una violación durante una fiesta de Nochevieja. Este suceso transforma su vida por completo. Incapaz de identificar a su agresor, enfrenta un año marcado por la culpa, la vergüenza y el asco, mientras intenta canalizar su dolor a través del teatro, interpretando a Medea, un personaje cargado de rabia y venganza. Min 32: LA PELÍCULA DE TU VIDA, CON JOTA LINARES Nuestro invitado de esta semana es el guionista, escritor y cineasta gaditano Jota Linares. El director de títulos como "Las niñas de cristal", "Animales sin collar" o "A quién te llevarías a una isla desierta" remueve sus recuerdos y su amor al cine para desvelarnos qué peli marcó su amor por el séptimo arte y la que determinó que quería dedicarse a hacer películas. Min 38: ESPECIAL BSO BLANCANIEVES 2025 (NOTA EDC: 3 ESTRELLAS) Y en el diván de las bandas sonoras, protagonismo para la sensación del momento. Pese a la lluvia de críticas, BLancanieves 2025 ha protagonizado la segunda mejor apertura del año con 2,2 millones de euros de recaudación en su primer fin de semana. Luchini crtició su banda sonora, la defendió Raquel Hernández y oy con Ángel Luque nos toca desempatar, conocer el nivel, en lo nuevo y en lo remozado, de lo que han compuesto al unísono Jeff Morrow, Beni Pasek, y Justin Paul. Todos han tocado las partituras sagradas que elevaron a la inmortalidad a la Blancanieves de 1937.

On this episode, we're staying in the late sixties for one more film as we watch Jean-Pierre Melville's Army of Shadows (1969). A haunting portrayal of the French Resistance during the early days of World War II that serves as an existential reflection on what it really takes to fight an occupying force. Melville's muted color palette and precise framing underscore the suffocating atmosphere of occupied France, while also highlighting the moral complexity faced by those fighting fascism. The film presents a sobering look at the personal costs of opposing tyranny and forces the viewer to confront the often futile nature of resistance in the face of overwhelming oppression.  The film was dismissed as Gaullist propaganda (which is fair) when it was first released in 1969, but received a much warmer welcome when it was restored and rereleased in 2006. It hits even harder in 2025 America. Follow us at: Patreon / Instagram / Letterboxd / Facebook 

Benny Walchuk joins the SportsCage live in Melville to give the SJHL Report.

The Tuesday Edition of the SportsCage is live in Melville ahead of the Millionaires and Terriers clash! Join Barney Shynkaruk and Sharky as they run down your local sports scene. Joining the show today is the Millionaires' Daniel Hope, Warriors Trevor Weisgerber, Coast to Coast with Arash Madani, Press Coverage with Glen Suitor, and Benny Walchuk brings the SJHL Report.

How many traffic lights are out in Joburg currently? Well, we want to count! The ongoing issue of non-functioning traffic lights continues to disrupt daily commutes. Residents said broken traffic signals regularly force drivers to wait more than 30 minutes, worsening congestion and travel times. Beyer's Naudé Drive, one of the most severely impacted areas, starts at the University of Johannesburg (UJ) in Auckland Park and stretches through Melville, Roosevelt Park, Northcliff, and Blackheath, crossing the N1 Western Bypass at Randpark Ridge. We spoke to Acting Head of Department Mobility and Freight at the JRA, Sipho Nhlapo as well as Gauteng Roads and Transport Spokesperson Lesiba Mpya in May last year See omnystudio.com/listener for privacy information.

This week, Larry Wolff immerses himself in a bold operatic vision of Melville's classic; and Travis Elborough on a boosterish attempt to rescue Croydon from its knockers.'Moby-Dick', composed by Jake Heggie, Metropolitan Opera House, New York, until March 29'Croydonopolis: A Journey to the Greatest City that Never Was', by Will NobleProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

In this episode, we're joined by novelist and filmmaker Xiaolu Guo to discuss her latest novel, Call Me Ishmaelle. A bold reimagining of Moby-Dick, Guo's novel audaciously swaps the gender of Melville's narrator and plunges into a world of hidden identities, maritime adventure, and cultural collision.With host Adam Biles, Guo reflects on her personal and literary journey—from her early, abandoned encounters with Moby-Dick in Chinese to her deep dive into American whaling history and the Civil War. She shares insights on writing in a second language, the challenge of adapting a literary classic, and the influence of Taoism and Darwin's Voyage of the Beagle on her storytelling.Buy Call Me Ishmaelle: https://www.shakespeareandcompany.com/books/call-me-ishmaelle-2*Xiaolu Guo was born in China. She published six books before moving to Britain in 2002. Her books include: Village of Stone, shortlisted for the Independent Foreign Fiction Prize; A Concise Chinese-English Dictionary for Lovers, shortlisted for the Orange Prize; and I Am China. Her recent memoir, Once Upon a Time in the East, won the National Book Critics Circle Award, was shortlisted for the Costa Biography Award and the Rathbones Folio Prize 2018. It was a Sunday Times Book of the Year. Her most recent novel A Lover's Discourse was shortlisted for the Goldsmiths Prize 2020. She is a fellow of the Royal Society of Literature and a visiting professor at the Free University in Berlin.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The future of marketing is moving fast — AI is reshaping how we work, regulations are shifting and CMOs are being asked to do more than ever before. So, what will the next five years look like?At Campaign Convene 2025, industry leaders tackled these big questions in a panel called Outlook 2030: Preparing for the Next Half-Decade of Marketing. Alison Pepper from the 4As, Donna Sharp from MediaLink and Doug Melville from Jodi AI shared their takes on everything from political and economic shifts to the evolving role of marketers in a rapidly changing world.The conversation explores the future of marketing and advertising leading up to 2030, focusing on the impact of political changes on the roles and responsibilities of the CMO. Pepper, Sharp and Melville discuss the challenges and opportunities presented by current events, from understanding their consumers, regardless of political affiliation, to navigating the complexities of DEI initiatives. The discussion also shines a light on the accountability of corporations, the creative disconnect with the American consumer and the regulatory landscape surrounding AI. As the role of the CMO transforms, the need for innovative approaches and a moral compass in marketing becomes increasingly critical. campaignlive.com What we know about advertising, you should know about advertising. Start your 1-month FREE trial to Campaign US.

Rashmi & Zach's tour through the wide world of noir lands them in Fance and at the door steps of an old friend, Jean-Pierre Melville, and his 1970 heist spectacular, LE CERCLE ROUGE!   Tune in to hear more of how Melville homages and updates the Noir genre of Hollywood that entranced him, thrill alongside our hosts as they unpack this meticulous and patient picture, and... swoon like crazy over the glory that is Alain Delon with a mustache!   To learn more about the beginnings of Melville and Delon's collaborations, listen to Rashmi & Zach's previous chat on Le Samouraï https://ballyhoorevuepodcast.com/ep-87-wonders-of-world-cinema-le-samourai-the-samurai-1967-or-a-matter-of-birds-bullets/

In this episode, we welcome Jimmy Chin. Jimmy is an inspirational mountain climber, award-winning photographer, and Oscar-winning filmmaker with projects including Meru, Free Solo, The Rescue, Return to Space, Wild Life, Nyad, and Endurance. He is also a longtime Canon Explorer of Light. In our conversation, we hear about his upbringing in Minnesota, path into photography, adventures in filmmaking, and all about his first foray into narrative work with Nyad. In addition, Jimmy talks about what keeps him inspired — and other thoughts on a life on the edge of adventure.This episode was recorded live at Canon HQ in Melville, NY.“The Making Of” is presented by AJA:How Cromorama solves HDR production challenges with AJA ColorBoxCromorama is transforming HDR workflows for live production across the globe, using AJA ColorBox and its integrated ORION-CONVERT pipeline to power SDR/HDR transforms, quality control checks, and more for high-stakes productions like the UEFA EURO 2024 Championship. Find out how in this interview with Cromorama CEO and CTO Pablo Garcia hereExplore the OWC Jellyfish Nomad:Discover how the OWC Jellyfish Nomad turned a desolate location in the Utah Salt Flats into a fully equipped, mobile production studio. This compact, powerful device allows video professionals to manage, share, and collaborate on high-resolution projects in remote environments. Click through to see how you can streamline your workflow, no matter where your next shoot takes you! Read hereIntroducing Atomos Sun Dragon: A Rope Light Made for Filmmakers. The world's first full sun-spectrum rope light, Sun Dragon offers creatives more options. It's uniquely flexible, so it fits into places other lights can't. You can wrap it around objects for creative highlighting and special, colour-controllable effects including dramatic underlighting. The world's first sun spectrum, HDR, waterproof, DMX controlled, 2000 lumen 5-color LED, mount-anywhere, lightweight flexible production and cinema rope lightLearn more hereNetflix Feature “Let Go” Showcases Igelkott Studios' Masterful Visual FXNetflix's Let Go (2024) tells a heartfelt story with beautifully crafted visuals. Igelkott Studios contributed to the car and airplane sequences using advanced In-Camera Visual FX. Led by Eric Hasso, we focus on authenticity and innovation. Watch Let Go on Netflix and learn more at Igelkott Studios.Explore hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereZEISS Introduces the Otus ML:The ZEISS Otus ML lenses are crafted for photographers who live to tell stories. Inspired by the legendary ZEISS Otus family, the new lenses bring ZEISS' renowned optical excellence combined with precise mechanics to mirrorless system cameras. Thanks to the distinctive ZEISS Look of true color, outstanding sharpness and the iconic “3D-Pop” of micro-contrast, your story will come to life exactly like you envisioned. A wide f1.4 aperture provides outstanding depth of field directing attention to your focus area, providing a soft bokeh that elegantly separates subjects from the background. The aspherical design effectively minimizes distortion and chromatic aberrations. Coupled with ZEISS T* coating that reduce reflections within a lens, minimizing lens flare and enhancing image contrast, and color fidelity.Learn more herePodcast Rewind:Feb 2025 - Ep. 68…“The Making Of” is published by Michael Valinsky.To advertise your products or services to 125K filmmakers, video pros, TV, broadcast & live event production pros reading this newsletter, email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Subscriber-only episodeThis is the inaugural discussion of my series on fathers and sons reading Great books together.  Here I discuss the reasoning behind the series, encompassing everything from Homer's Iliad and Odyssey, to Plato's Republic, Aristotle's Poetics, Xenophon, Plutarch, Shakespeare, Mark Twain, Melville, Bloom's Closing of the American Mind and, of course and definitively, the Bible.  At issue is an assessment of we ourselves as educators of the youth and the meaning of greatness in the education fathers seek to cultivate in their sons. 

What happens when a woman becomes obsessed with Herman Melville during the pandemic? What if the process of sorting fact from fiction in Melville's work inspires a midlife reckoning with her own marriage and ambition? And what if she (a poet) and her husband (a novelist, by the way) write a book about all of it? Well, the result would be something like Dayswork: A Novel, which has been called "a supremely literate achievement that wears its erudition lightly." In this episode, Jacke talks to the poet and her novelist husband, Jennifer Habel and Chris Bachelder, about what Melville means to them. PLUS Alexander Boots (The Strangers' House: Writing Northern Ireland) discusses his choice for the last book he will ever read. Additional listening suggestions: 513 The Writers of Northern Ireland with Alexander Poots 481 Moby-Dick: 10 Essential Questions (Part One) 482 Moby-Dick: 10 Essential Questions (Part Two) The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the penultimate episode of this season, there's a lot of talk about Melville's relationship with Nathaniel Hawthorne as we get more of Melville's life as he bounces through time, writes Moby-Dick and the creation of “its own kind of reader: an inexhaustible reader. A reader that didn't yet exist . . .” The "Grifters Gonna Grift" t-shirt is still available and still sexy. Next episode will be next week at the regularly scheduled time and will cover the end of Rodrigo Fresán's Melvill. You can find the full reading schedule here. This week's music is "Vertigo" by FM Belfast. You can find all previous seasons of TMR on our YouTube channel and on Apple Podcasts, Spotify, etc. Please rate and review! It helps more than you know. Follow Open Letter, Two Month Review, Chad Post, Kaija Straumanis, and Brian Wood for random thoughts and information about upcoming guests.