Podcast appearances and mentions of nick wilding

News that a famous Galileo manuscript at the University of Michigan Ann Arbor was revealed to be a fake raises questions about a similar letter that appeared on GBH's Antiques Roadshow in 2014. Did the show get it wrong? And how can a fake be so convincing it fools multiple experts? Host Adam Monahan, joined by forgery-sniffing historian Nick Wilding, dig into a world of deception to uncover if the producers are in for a letdown.

Some historians believe Italian forger Tobia Nicotra may have produced hundreds of document and signature forgeries attributed to names like Mozart and Galileo, before he was caught in the 1930s. He faded into obscurity, but his forgeries didn't. And for more than 80 years the University of Michigan housed a Galileo manuscript they didn't know was fake -- until a historian named Nick Wilding called its bluff.See omnystudio.com/listener for privacy information.

News that a famous Galileo manuscript at the University of Michigan Ann Arbor was revealed to be a fake raises questions about a similar letter that appeared on GBH's Antiques Roadshow in 2014. Did the show get it wrong? And how can a fake be so convincing it fools multiple experts? Host Adam Monahan, joined by forgery-sniffing historian Nick Wilding, dig into a world of deception to uncover if the producers are in for a letdown.

Jon talks cybersecurity with expert Nick Wilding. Nick is general manager of cyber resilience at AXELOS. His team is responsible for RESILIA – a cyber resilience best practice portfolio. You can find out more info about them here: https://www.axelos.com/resilia

Taking part in this panel session at the CBI's Cyber Security Conference are: Matthew Fell, Policy Director, CBI; Dr Tony Collins, Head of Cyber Security Skills, Knowledge and Growth, DCMS; Paul Hingley, Cyber Security Expert, Siemens; Rob Horton, European MD of Security Consulting, NCC Group; Nick Wilding, Head of Cyber Resilence Best Practice, AXELOS Global Best Practice. London, June 2015.

Nick Wilding's new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a "rich, old, slightly batty widow" in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of "intermediaries and go-betweens" in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science

Nick Wilding's new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a "rich, old, slightly batty widow" in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of "intermediaries and go-betweens" in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding's new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a "rich, old, slightly batty widow" in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of "intermediaries and go-betweens" in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding's new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a "rich, old, slightly batty widow" in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of "intermediaries and go-betweens" in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Nick Wilding's new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a "rich, old, slightly batty widow" in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of "intermediaries and go-betweens" in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Nick Wilding's new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a "rich, old, slightly batty widow" in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of "intermediaries and go-betweens" in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo's Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo's 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian's role in major disputes involving the Jesuits, his family's mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian Gianfrancesco Sagredo. Though most readers might be familiar with Sagredo largely as one of the protagonists of Galileo’s 1632 Dialogue upon the Two Main Systems of the World, here he takes center stage. In order to bring Sagredo to life and help us understand his significance both for Galileo and for early modern science in context more broadly conceived, Wilding has worked with an impressive range of materials that include poems, paintings, ornamental woodcuts, epistolary hoaxes, intercepted letters, murder case files, and more. After a chapter that reads like a detective story as Wilding tracks down and expertly reads missing portraits of Sagredo, subsequent chapters explore the Venetian’s role in major disputes involving the Jesuits, his family’s mining interests, his time as treasurer for a fortress and a consul to Syria, and his performance as a “rich, old, slightly batty widow” in the context of a rather hilarious epistolary hoax. We also come to understand Galileo anew, as Wilding pays careful attention to his use of scribal publication to control and disseminate his writing and the relationship between instrument and text in his work. (In one wonderful chapter, Wilding reads woodcuts associated with the Sidereus nuncius in order to reframe how we understand the history of production and publication of this text in the context of transalpine book smuggling.) Along the way, the chapters make significant interventions in the historiography of science, suggesting ways that Sagredo helps us think anew about the use of visual sources, the agency of “intermediaries and go-betweens” in creating their own networks, the importance of understanding the sense of humor of our historical actors, the social nature of early modern authorship, and the need to reassess the historiography of the global scientific network of the Jesuits. There are also some really, horribly, wonderfully bad puns. (Consider yourselves forewarned.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Nick Wilding‘s new book is brilliant, thoughtful, and an absolute pleasure to read. Galileo’s Idol: Gianfrancesco Sagredo and The Politics of Knowledge (University of Chicago Press, 2014) takes an unusual approach to understanding Galileo and his context by focusing its narrative on his closest friend, student, and patron, the Venetian... Learn more about your ad choices. Visit megaphone.fm/adchoices