Podcasts about night mother

Welcome to another episode of Perspective Checks where I sit down with friends and folks from the TTRPG world and discuss what they love about this wonderful hobby!   This month is LONG overdue and is a sit down and chat with Christian from the DMs After Dark about playing games in sandbox worlds. Christian and I have been friends for many years now and have been fueling one another's RPG collecting and dissecting obsessions, and it's always great to sit down with him and talk games.    Christian has written multiple excellent Call of Cthulhu scenarios (linked below) and is currently running the DMs through the RuneQuest campaign Company of the Dragon. This is a great chat full of really useful advice if you want to play better sandbox (as opposed to railroad) games at your table.   Also... we preview and promise a quickstart of our upcoming community rebuilding and survival after a grid down event game, so listen to the end for a little excited talk about that!   Get Deadfellas and Christian's other games (The Night Mother's Moon and Zennor & the Sins of St. Senara)   ----more----   I made a Ko-Fi if you feel absurdly generous and want to help cover podcast hosting costs & all the upkeep. I'm still working on whether I want to offer anything special over there or just give my extreme gratitude (maybe some stickers or something in the mail) to those who donate, but no pressure whatsoever :)   Where to Follow Rene Plays Games: LinkTree |  BlueSky | Threads | Instagram | Facebook | DMs After Dark Rene's Games: MECH | One Last Quest email: RenePlaysGamesPod@gmail.com   Music in the Episode (in order of appearance): Theme Song written & produced by Dan Pomfret | @danfrombothbands

February 2025 Solicits (DC, Image, Oni) Comic Reviews: DC o        Action Comics 1075 by Mark Waid, Clayton Henry, Michael Shelfer, Matt Herms; Mariko Tamaki, Skylar Partridge, Marissa Louise; Joshua Williamson, Norm Rapmund, Jon Bogdanove, Hi-Fi o        Batman Uncovered 1 o        Black Lightning 1 by Brandon Thomas, Fico Ossio, Ulises Arreola Marvel o        Amazing Spider-Man 61 by Joe Kelly, Ed McGuinness, Mark Farmer, Marcio Menyz, Niko Henrichon o        Psylocke 1 by Alyssa Wong, Vincenzo Carratu, Fer Sifuentes-Sujo o        Marvel Unlimited §  Beastly Buddies 5 by Steve Foxe, Armand Bodnar §  Marvel Meow 22 by Nao Fuji Boom o        Power Rangers Prime 1 by Melissa Flores, Michael YG, Fabi Marques o        Wynd: The Power of the Blood 1 by James Tynion IV, Michael Dialynas Dark Horse o        Arcbound 1 by Scott Snyder, Frank Tieri, Tom Hardy, Ryan Smallman, Frank William o        Black Hammer: Spiral City 1 by Jeff Lemire, Teddy Kristiansen o        Borderlands: Moxxi's Mysterious Memento 1 by Amy Chu, Mike Norton, Heather Breckel IDW o        Star Trek: Lower Decks 1 by Ryan North, Derek Charm o        Yars Rising 1 by Adam Tierney, Ele Bruni, Aurora Maeno Image o        G.I. Joe 1 by Joshua Williamson, Tom Reilly, Jordie Bellaire Mad Cave o        Gatchaman: Jun - Apex Heart 1 by Tommy Lee Edwards, Nuno Plati, Giada Marchisio o        String 1 by Paul Tobin, Carlos Javier Olivares, Sara Colella Oni o        Calavera, P.I. 1 by Marco Finnegan Titan o        Heat Seeker Combustion: A Gun Honey Series 1 by Charles Ardai, Ace Continuado, Juan Castro, Asifur Rahman Valiant o        X-O Manowar: Resurgence of the Valiant Universe 1 by Fred Van Lente, Jesus Barrios OGN Countdown o        Marvel Super Stories Vol 2: Amazing Adventures o        Ribbon Skirt by Cameron Mukwa o        Greater Secrets by Ananth Hirsh, Tess Stone o        Tryout and the Squad by Christina Soontornvat, Joanna Cacao o        Legendary Lynx by Alex Segura, Sandy Jarrell o        Teleportation and Other Luxuries by Archie Bongiovanni, Mary Verhoeven, Lucas Gattoni o        Night Mother by Jeremy Lambert, Alexa Sharpe o        Sliced by Rafael Scavone, Guilherme Grandizolli, Cris Peter, Deyvison Manes o        Leap by Simina Popescu o        Hobtown Mystery Stories Vol 2: The Cursed Hermit by Kris Bertin, Alexander Forbes Additional Reviews:         Gladiator II         We Called Them Giants         Women of the Hour         Red One         The Boy and the Octopus         An Almost Christmas Story News: Black Panther 3 in development, Blade loses another cast member, new Red Hulk series from Geoff Shaw and Ben Percy, Godzilla vs. America series featuring Godzilla against specific cities, Speed Racer coming to Mad Cave, Thunderbolts mini tying into One World Under Doom, Moon Girl fiasco, Marguerite Bennett reinventing Flash Gordon as a teenage girl Trailers: Jentry Chau vs. the Underworld Comics Countdown (13 November 2024): 1.     Helen of Wyndhorn 6 by Tom King, Bilquis Evely, Mat Lopes 2.     Absolute Batman 2 by Scott Snyder, Nick Dragotta, Frank Martin 3.     Black Hammer: Spiral City 1 by Jeff Lemire, Teddy Kristiansen 4.     Batman: Dark Age 6 by Mark Russell, Michael Allred, Laura Allred 5.     Minor Arcana 3 by Jeff Lemire 6.     Wynd: The Power of the Blood 1 by James Tynion IV, Michael Dialynas 7.     Big Burn 2 by Joe Henderson, Lee Garbett, Lee Loughridge 8.     Space Ghost 7 by David Pepose, Jonathan Lau 9.     Batman: Gotham by Gaslight - Kryptonian Age 6 by Andy Diggle, Leandro Fernandez, Matt Hollingsworht 10.  Groo: Minstrel Melodies 3 by Sergio Aragones, Mark Evanier, Carrie Strachan

On this week's episode of the Music History In Depth Podcast, we discuss an event that was laced with racial undertones that became a riot that killed disco, a concert event for the ages, and we say happy birthday to the Mother of the MP3.  For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠  The Live Aid lineup is too long to post here, so here's the link to the lineup: wikipedia.org/wiki/Live_Aid#Performances --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Ritora is back, but the party fails to get away from The Night Mother and things are looking grim...   Want more NotGreatRPG content? Check out our other podcasts and our live stream on our website! https://notgreatrpg.com

Ritora is dead in the hands of the horrifying tree visage of Elusil, and the rest of the party is in peril as The Night Mother has arrived...   Want more NotGreatRPG content? Check out our other podcasts and our live stream on our website! https://notgreatrpg.com

The party escapes The Night Mother, but with the castle thawing, danger lurks around every corner...   Want more NotGreatRPG content? Check out our other podcasts and our live stream on our website! https://notgreatrpg.com

Join host Melissa Wells for the latest addition to our News Now podcast - local events in Northwest Montana! Every week, we will highlight a few listings from our events calendar, and hopefully give you some ideas about what happenings you could check out.Featured events this week:Kalispell Downtown Association's Ladies' Night Run Wild 5k and Fun RunFlathead Food Truck Festival...and there's a bunch of fun Mother's Day activities to choose from this Sunday!To see all local event listings, please visit dailyinterlake.com/events. Want to include your event? It's free! You can ticket and promote your events with Daily Inter Lake, click here to learn more.Visit DailyInterLake.com to stay up-to-date with the latest breaking news from the Flathead Valley and beyond. Support local journalism and subscribe to us! Watch this podcast and more on our YouTube Channel. Find us on Facebook, Instagram and Twitter. Got a news tip, want to place an ad, or sponsor this podcast? Contact us!

Almost all of the party is down, and the king asks The Night Mother what she really desires...   Want more NotGreatRPG content? Check out our other podcasts and our live stream on our website! https://notgreatrpg.com

The Night Mother retaliates after Thaurielle strikes her, but Laverna holds her back with all her might...   Want more NotGreatRPG content? Check out our other podcasts and our live stream on our website! https://notgreatrpg.com

The party speaks with Taurithelle, the King of Auglatha, before Laverna & The Night Mother get their turn...   Want more NotGreatRPG content? Check out our other podcasts and our live stream on our website! https://notgreatrpg.com

Not every bonus episode has to be on a 5th Tuesday, holidays are good reason, too, right?   In this bonus one-shot, Rene ropes his wife Lynn into her first foray with Call of Cthulhu in a one-on-one scenario from the Does Love Forgive? collection.   Set in 1930s New York City amidst the bustling jazz scene, the scenario features a love triangle and questions just how far you'd go to achieve your goals. As Lynn's first dip into the system, it goes pretty off the rails in pretty fun ways!   As mentioned, one of the DMs After Dark, Christian, is a published Call of Cthulhu scenario writer. If you want to check out his stuff, go get The Night Mother's Moon!   Where to Follow Rene Plays Games: Instagram | Facebook | Twitter/X | Threads | DMs After Dark email: RenePlaysGamesPod@gmail.com   Music in the Episode: Theme Song written & produced by Dan Pomfret | @danfrombothbands Bugablue Music from Pixabay Podcast Jazz Music by Denis Pavlov from Pixabay Autumn Leaves Falling Again by Trygve Larsen from Pixabay Covert Ops from Tabletop Audio Infiltration from Tabletop Audio Investigator's Office from Tabletop Audio Noir Procedural from Tabletop Audio

Edie Falco is a television, film and stage actor whose roles on HBO's Oz, Showtime's Nurse Jackie and the iconic HBO series The Sopranos have earned her multiple Emmy, Golden Globe, and SAG Awards. She currently stars in the hit Peacock series Bupkis as Pete Davidson's mother. Her Broadway credits include the Tony Award-winning play Sideman, Frankie and Johnny in the Clair De Lune, ‘Night Mother, and The House of Blue Leaves, for which she received a Tony Award Nomination. Off-Broadway she's appeared in The Madrid, This Wide Night, The True, and Morning Sun. Her work in feature film includes Cost of Living (American Film Institute's Best Actress Award), Laws of Gravity (Independent Spirit Award nomination), Sunshine State, Landline, Hurricane, The Funeral, The Addiction, Freedomland, The Land of Steady Habits, Judy Berlin, and the Avatar sequels. …as well as indie film pioneer Hal Hartley's classics The Unbelievable Truth and Trust, which also starred my late wife Adrienne Shelly. Edie and I intimately chat for an hour about childhood, life, family, addiction, her illustrious career, The Sopranos, a possible Nurse Jackie re-boot, Trump and politics, the Knicks, her animal-welfare work and more. Got somethin' to say?! Email us at BackroomAndy@gmail.com Leave us a message: 845-307-7446 Twitter: @AndyOstroy Produced by Andy Ostroy, Matty Rosenberg, and Jennifer Hammoud @ Radio Free Rhiniecliff Design by Cricket Lengyel

The Night Mother is one of the most mysterious entities in Tamriel with rumors claiming she was a former member of the Morag Tong, a Daedra, or never existed at all. In this video, we dive into the history and claims of the Night Mother and determine which is most likely true. Music Credits:Call to AdventureScott Buckleyhttps://www.youtube.com/watch?v=m5ZtcVdDqGoDark Wispers - Dark Haunting MusicCO.AGhttps://www.youtube.com/watch?v=VrRrH18CfIgEpic Ominous Trailer (Full Version No Vocals)Lucafrancinihttps://elements.envato.com/epic-ominous-trailer-SW8MF6DOminousGentleJammershttps://elements.envato.com/ominous-TQP5FHGSomething's Out ThereJBlankshttps://elements.envato.com/somethings-out-there-BNWMQHP Hosted on Acast. See acast.com/privacy for more information.

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large--in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother: A Personal and Cultural History of the Exorcist (Mad Creek Books, 2023), Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from. The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large--in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother: A Personal and Cultural History of the Exorcist (Mad Creek Books, 2023), Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from. The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large--in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother: A Personal and Cultural History of the Exorcist (Mad Creek Books, 2023), Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from. The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large--in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother: A Personal and Cultural History of the Exorcist (Mad Creek Books, 2023), Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from. The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Never watch The Exorcist, Marlena Williams's mother told her, just as she'd been told by her own mother as a Catholic teen in rural Oregon when the horror classic premiered. And like her mother, Mary, Williams watched it anyway. An inheritance passed from mother to daughter, The Exorcist looms large--in popular culture and in Williams's own life, years after Mary's illness and death. In Night Mother: A Personal and Cultural History of the Exorcist (Mad Creek Books, 2023), Williams investigates the film not only as a projection of Americans' worst fears in the tumultuous 1970s and a source of enduring tropes around girlhood, faith, and transgression but also as a key to understanding her mother and the world she came from. The essays in Night Mother delve beneath the surface of The Exorcist to reveal the deeper stories the film tells about faith, family, illness, anger, guilt, desire, and death. Whether tracing the career of its young star, Linda Blair, unpacking its most infamous scenes, exploring its problematic depictions of gender and race, or reflecting on the horror of growing up female in America, Williams deftly blends bold personal narrative with shrewd cultural criticism. Night Mother offers fresh insights for both fans of the film and newcomers alike. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today we discuss a character actress, multiple Oscar nominee (and winner) and living legend who is still somehow underrated: Kathy “Bobo” Bates! Our B-Sides today are: A Home of Our Own, Dolores Claiborne, Love Liza, and Richard Jewell. The actress made her bones in the theater, originating roles in iconic stuff such as ‘Night Mother and Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean. Our guest is Billy Ray Brewton, host of the superb The Incinerator Podcast, the Movie Mixtapes podcast, and the Center Clueless podcast. Brewton is also the Festival Director/Lead Programmer of Make Believe Seattle. We talk to Brewton about why Bates is his favorite working actress, her innate Southern charm, her late break into movies, her essential performance in Dolores Claiborne, and why Fried Green Tomatoes is so important to the state of Alabama. Additional fun tidbits include: the strange career of A Home of Our Own director Tony Bill, the underrated Bates-led TV show Harry's Law, the exciting acting Oscar wins that happened in the late ‘80s and early ‘90s, and some of Bates' other B-Sides (Angus, Primary Colors, Bonneville). Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. Enjoy!

All The Drama is hosted by Jan Simpson. It is a series of deep dives into the plays that have won The Pulitzer Prize for Drama. The Pulitzer Prize for Drama: “‘night, Mother”1983 Pulitzer winner “’night, Mother” by Marsha Norman Marsha Norman Wikipedia pagehttps://en.wikipedia.org/wiki/Marsha_Norman ‘night, Mother Wikipedia pagehttps://en.wikipedia.org/wiki/%27night,_Mother ‘night, Mother read more The post All the Drama: 1983 Pulitzer Prize Winner “’night, Mother” by Marsha Norman appeared first on BroadwayRadio.

On this episode of the podcast once again the ladies take over the show and discuss being Moms, being daughters & loving God….it's another great episode, check us out!!! --- Support this podcast: https://podcasters.spotify.com/pod/show/vgeorgesmith/support

DEBRA DRONEY and ANNIE CAREDIO are this week's Patreon supporters. THANK YOU.

We meet with the Night Mother's contact and are off to the wedding of Vittoria Vici!

The Night Mother speaks to us and we are... the Listener!!!

Night Mother's Apprentice

Here's the full episode of Season 4, Episode 2 of Bates Motel, Night, Mother, based on Norman Bates! Plot: Norma and Norman each suspect the other of a terrible deed, Dylan contemplate his future with Emma, and Romero makes a choice that dramatically impacts the Bates family.

It may be hard for some of us to believe, but this past Valentine's Day – Feb 14, 2022 – marked the 50th Anniversary of the New York opening of the musical GREASE, at the Eden Theater on 2nd Avenue. And next week, June 7, will mark the 50th Anniversary of its official move to Broadway.  My guests this week are that Grease's original producer, Ken Waissman, and original director, Tom Moore, who along with Adrienne Barbeau (the original “Rizzo”) are the editors of the new book : Grease – Tell Me More, Tell Me More – Stories From The Broadway Phenomenon That Started It All. Ken Waisman is a Tony Award winning producer who made his Broadway debut with the play And Miss Reardon Drinks A Little. In addition to Grease he went on to produce Over Here! starring the Andrews Sisters, and the long running plays Agnes Of God, and Torch Song Trilogy. Tom Moore is a leading theater, film and television director whose work on Broadway includes his debut with Grease, Over Here!, Moon Over Buffalo starring Carol Burnett, and Night Mother. Their new book is made up of a the personal, behind-the-scenes memories of the show's creative and production teams, as well as scores of cast members from Grease's original cast, five national tours, and record breaking eight-year run on Broadway. In this episode you will hear about how Ken discovered the show in a ramshackle community theater production in Chicago; why Ken chose Tom to direct the show instead of Michael Bennett; how Tom almost turned the show down; and how together they discovered and cast more future stars than probably any other musical in history! Grease alumni include Adrianne Barbeau, Barry Bostwick, Jeff Conaway, Carole Demas, Greg Evigan, Peter Gallagher, Richard Gere, Marilu Henner, Judy Kaye, Rex Smith, Patrick Swayze, John Travolta, Treat Williams, and Adrian Zmed. As well as the future Broadway directors Walter Bobbie, Scott Ellis, and Jerry Zaks. Has any other show produced that many stars?  Even if Grease is not your favorite show, I feel certain that you will be fascinated by their stories of how the show came together, as well as the casting stories of John Travolta, Patrick Swayze and Richard Gere. Broadway Nation is written and produced by me, David Armstrong. Special thanks to Pauls Macs for his help with editing this episode, to KVSH 101.9 The Voice of Beautiful Vashon Island WA, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Dev Game Club, where this week we continue our series on Morrowind. We talk about the role-playing feeling of the game, how the guilds have a sense of real progression and reputation, and motivating play. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Brett to 71 hrs, Tim to 24 Issues covered: Tim decides he's going to be a good assassin from now on, having to kill the leads of guilds I'm head of, a level design soapbox moment, not leveraging symmetry, getting lost in Vivec City, victory in the Arena, self-guided missions, feeling like some quest-givers gave meaner quests, going to various locations for guild quests, doing work for the Night Mother, the squabbling over artifacts, an assassination behind locked doors, "the most Mel Brooks assassination," being OP for the game, feeling like the later games are more generic, feeling like you are really playing the role, infiltrating a base for a target, backbiting amongst the academics, having a bold moment of quest design, iterating on the formula, developing a sense of place, enjoying motivated play, friction between groups motivating play, having a complete experience from a quest line, revisiting the game, MMO feeling, the structure of The Witcher 3 and side quests that aren't, figuring out the alchemy system and its power, using the mad magician as motivation, a sum of parts game, not proud, adding time to every quest line. Games, people, and influences mentioned or discussed: The Three Musketeers, Greg Knight, Mel Brooks, Starfield, Fallout (series), Reed Knight, Crazy Taxi, Dungeons & Dragons, The Witcher, Sam, Stephen, Kingdom Hearts, The Matrix (obliquely), Resident Evil Village, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: ??? What is time? Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub DevGameClub@gmail.com

Nobody doesn't love the Dark Brotherhood - a collection of sociopathic assassins who will murder anybody for the low-low price of a prayer and a well-stabbed human heart. But who is their leader, this "Night Mother?" And what of their origins? That's our topic (and more) on today's edition of the Selectives Lorecast. Originally recorded around July 2021. --- Join the Selectives Lorecast every other Saturday (usually) at 3pm Eastern Time at https://www.twitch.tv/rottendeadite Got a lore question for the Selectives? Drop us a line at selectiveslorecast@gmail.com.

House Wind "Afternoon Butterfly" - Great Art Is Our Weapon Of Choice: Melodies for Prepared Guitar, Vol. 4Big Blood "1000 Times" - Quarantunes Series No​.​027Current 93 "Sadness Song" - Thunder Perfect MindAndre Ethier "Are You Going" - Further Up IslandQuasi "When The Going Gets Dark" - When The Going Gets DarkDiamondtown "Dream All Day" - DiamondtownGoodbye Honolulu "Over and Over" - Goodbye HonoluluUyemi "Moving Quietly" - Butterfly EffectTouch & Moves "2wo Minutes Hate (feat. Tachichi)" - 1984Cage "Grand Ole Party Crash" - Hell's WinterKEMETRIX "Ktrix Machine" - Here and NowPrettybwoy "Brontides" - TayutauDJ Lycox "Eu Mbora Dou Bue Show" - LYCOXERAJulianna & Matias Aguayo "Micelio" - Que Si El MundoSarah Davachi & Sean McCann "Keep Outside the Night" - Mother of PearlGeo Rip "Tooni" - Geo Rip EP

Fourteen years ago this week, 21-year old British student Meredith Kercher was sexually assaulted and killed in a brutal attack in her apartment in the Italian city of Perugia. Her death was a shocking and unimaginable loss to her family. But sadly her name did not become the most memorable in the murder investigation that followed. As the world's media descended, a narrative quickly emerged around Amanda Knox - Meredith's American flatmate - and her then boyfriend Rafaele Sollecito. Dubbed 'Foxy Knoxy', the story became about a sexually voracious femme fatale and her accomplice, who it was said killed Meredith in a drug-fuelled sex game gone wrong. After being found guilty and serving four years in prison, Amanda was fully exonerated by the Italian Supreme Court on appeal in 2015. Amanda now lives back in Seattle, is married, and has just had a baby - having built a career as a writer, podcaster, and campaigner against wrongful conviction. In an exclusive interview with Woman's Hour and Newsnight, Amanda Knox talks to Emma about trying to restore her reputation, losing control of her identity, and speaking out about the film Stillwater starring Matt Damon, which she says drew on and profited from her story without her consent. The cost of repeat prescriptions for hormone replacement therapy in England is to be significantly reduced. The Labour MP for Swansea East, Carolyn Harris, had put forward a Bill to make HRT free, as it is currently in Scotland, Wales and Northern Ireland where there are no charges for prescriptions. Although the Government didn't support the change in full, it announced at the end of last week that women would only have to pay for one prescription charge a year – potentially saving over £200 annually. The Government also announced that they will be setting up a menopause taskforce, which will be co-chaired by Carolyn Harris, who says it is time to revolutionise menopause support. Though best known for playing Rizzo in the film Grease, First Lady Abbey Bartlet in the television series The West Wing, and Julianna Margulies' mother Veronica in The Good Wife, multi-Emmy award-winning actor Stockard Channing is a Broadway veteran nominated for multiple Tonys. Currently on stage at the Hampstead Theatre in London in ‘Night Mother' - a tense two-hander play that takes place over a single evening – she joins Emma to discuss her latest performance and first as a London resident.

In this first movie night episode, the Adam & Eve team is reviewing a sexual thriller movie called “Mother, May I Sleep With Danger?”. The movie is about a pretty college girl Laurel (Tori Spelling) unknowingly becomes romantically involved with a psycho killer going by the name of Kevin (Ivan Sergei) who has already murdered his previous girlfriend. Laurel's protective mother (Lisa Banes) and several of the girl's friends suspect something is amiss, but the girl is predictably blind to everything. Do you find this sexually themed thriller movie erotic? Visit Adam and Eve and use the promo code POD50 at checkout for 50 percent off almost any single item and free shipping on your order!

Discover what is happening on the stages of Hampstead Theatre with Tim Calvert and 'A View On Access'. And this week, final performances of 'Memory of Water' a comedy play in which three sisters gather at the home of their recently dead mother and revisit the past in poignant and often hilarious way. Plus, Tim takes a look at a sombre play, 'night, Mother', set over the course of one evening as Jessie reveals to her mother that she is planning to commit suicide that very night.  For more information visit: www.hampsteadtheatre.com AVOA is written, presented and produced by Tim Calvert of Calvert Creative Concepts for RNIB Connect Radio and The Audio Description Association. For more information or to get involved email aviewonaccess@gmail.com Image from a Memory of Water. Three women sit on a sandy beach,  hiding under a sun umbrella together. 

Hey all, the CDB Crew is back with a regular episode after our short break. For this special episode, Darci chose the recently released, first volume of Verse by Sam Beck, published by Vault Comics on the Wonderbound imprint. If you are familiar with Beck's previous works, it will not come as a surprise about how great a read this is and how gorgeous it looks. We hope that we can convince you to pick up this under-the-radar masterpiece. That's not all that makes this episode special. We are introducing a new format all-together: we are adding in a new, ongoing segment, DIY Corner- where we will discuss comics that are being self-published, self-released online, and/or are being Crowd-Funded, while cutting back on our discussions and news segments. Once again, a big purpose of this podcast is to help give notice to comics that might not necessarily get a lot of press or discussion on comic book social media. For the inaugural DIY Corner, we talk about Dirruti: Shadow of the People, Hans Vogel is Dead, The Uncontrollable Wreck-Lass!, and Kardiakía: Stories of Representation: Queer Love and Fat Bodies. We also talk about Dune: A Whisper of Caladan Seas #1 by Brian Herbert, Kevin J. Anderson, Jakub Rebelka, and Ed Dukeshire (BOOM); The Night Mother by Melanie Gillman; and A Righteous Thirst for Vengeance #1 by Rick Remender, André Lima Araújo, Chris O'Halloran, and Rus Wooton (Image) The Night Mother can be found here: https://melgillman.tumblr.com/post/664267309279576064/the-night-mother DIY Corner: Dirruti: Shadow of the People: https://www.kickstarter.com/projects/autonomouscollective/durruti-shadow-of-the-people Hans Vogel is Dead: https://www.kickstarter.com/projects/castironbooks/hans-vogel-is-dead-volume-i The Uncontrollable Wreck-Lass!: https://www.kickstarter.com/projects/amoralstingray5/the-uncontrollable-wreck-lass?ref=profile_saved_projects_live Kardiakía Stories of Representation: Queer Love and Fat Bodies: https://www.kickstarter.com/projects/ehmautoproduzioni/kardiakia?ref=discovery_category Comics Deserve Better is a weekly podcast hosted by Brian, Carrie and Darci which covers the world of Independent Comics. For a list of episodes, socials and emails, and to request a topic for a future episode please visit comicsdeservebetter.wordpress.com. (Episode Artwork by Sam Beck)

NSFW - Spoilers Episode 220 - The Suicide Squad (2021): Saturday Night Mother We assemble a team of anti-heroes to discuss The Suicide Squad, or die trying. Task Force X: Mike "Hobbit" Bickett (Smack My Pitch Up/Deeply Upsetting), Lowdown Brown (From the Mouths Of Madness), Myke Reiser, and F.U. Hunter (From the Mouths Of Madness, Beautiful Disasters). Subscribe: https://linktr.ee/GUInetwork _________________________________________________ GUI Home - http://www.guipodcast.com GUI Hotline: (804) 505-4GUI (4484) (Message & data rates may apply) Thanks to our sponsors: www.emilycee.com Support GUI by shopping Amazon -  http://amzn.to/2cg3FF8 Check out the ton of merch for the GUI Network on TeePublic: http://bit.ly/2CzNdyf _________________________________________________ Twitter - twitter.com/GUIPodcastRVA  Facebook - www.facebook.com/guipodcastrva/ Instagram - https://www.instagram.com/geeksundertheinfluence/ _________________________________________________ ● Track Info ● Intro-Outro Music: "Dead By Dawn” courtesy of the “Creep-A-Zoids  http://www.creep-a-zoids.com/ Used with permission Geeks Under the Influence is a trademark of Michael Bickett. All other trademarks mentioned are the property of their respective owners. geeksundertheinfluence@gmail.com for sponsorship inquiries

Tonight, our guest at the table was Actor, Director and Founder/Producing Artistic Director of First World Theater Ensemble, Zuhairah McGill.“Z” is the founder and producing director of First World Theater Ensemble, where she has produced 24 plays. Zuhairah is a three-time award winner from DC Excellence in Black Theater; a three-time Barrymore nominee, twice for her one-woman show Sojourner, and for Gem of the Ocean at The Arden in 2019. First World Theatre Ensemble has been at the forefront of 4 Town Hall Meetings in recent months (and upcoming) addressing police brutality and systemic racism. She’s a dynamo that can move mountains both on and off the stage -- we’ll talk with her about her life, her dedication to her community and her activism in the arts. Her company is at the forefront of conversations in the community about police brutality and systemic racism.Zuhairah originally hails from New York, NY, where she trained and studied under Ossie Davis, Barbara Ann Teer, and Uta Hagen. Zuhairah is the Founder and Producing Artistic Director of First World Theatre Ensemble, under which she produced 24 plays, 5 world premieres. She is also the Creative Artistic Director for the Master Griot Project, and was formerly the Director in Residence at the Prince Music Theatre.Zuhairah has appeared in off-Broadway and national tours, including: “Sojourner”, “Most Dangerous Man in America: W.E.B. DuBois”, “Wallop”, “ All my Sons”, “Fences,” “Gutta Beautiful”, “From Ancient to Hip-Hop: The African Continuum” in which she conceived and directed, “ Night Mother”, “Wade in the Water: A Katrina Drama”, “Julius Caesar set in Africa, “Trick the Devil”, “First Breeze of Summer”, “Blues for an Alabama Sky”, “Trouble in Mind”, “Before it Hits Home”, “Bourbon at the Border”, “ A Piece of my Heart”, “Black Girl”, “Venice”, “My Name is Sapphire.. Damnit!”, “Mojo and the Sayso”, and “For Colored Girls.” She also includes in her work numerous national commercials and films.

With Cori's oath to the Night Mother on the table, our party heads perilously to Winter's icy heart across the frozen tundra that has enveloped the Feywild Come join us on Discord: https://discord.gg/ntaEjvc Consider supporting us on Patreon! https://www.patreon.com/IndoorAdventures Merch: indooradventure.redbubble.com "The Four" Theme composed by Annabella Gelmetti: https://www.instagram.com/annabellamusic https://twitter.com/voxvim

We return from our break and the holiday to talk about the nonsense that started it all: Humourism! Erin gaslights herself about what is and is not an animal. Britt swears fealty to the Night Mother. Content Warning: Blood/Vital Fluids/Various Internal Goop - 12:48 - 16:00Theme Song: "Just a Quail" by Louie Zong

Known affectionately as Frosty the Showman; impresario John Frost has been at the pinnacle of Musical Theatre in Australia for several decades. The Gordon Frost Organisation contributes much of the commercial product that traverses stages around the country. His productions have garnered a swag of local awards as well as two Tony Awards for musicals on the Broadway stage.Frost grew up in Adelaide and harboured dreams of a showbiz life. He’d stage backyard entertainments with his doting Aunt Mary playing Eliza to his Henry Higgins. He's been stage-struck ever since. It was a childhood influenced by a regular diet of television and Hollywood movies. A dalliance with amateur theatre in his teens provided him with the realisation that he was suited more to backstage.He left school at 15 and began his career as a dresser on the J.C. Williamson’s production of Mame. Frost had found what he wanted to do and the young apprentice garnered enormous knowledge working his way through a succession of roles - Wardrobe Master, Office Assistant to Kenn Brodziak, Stage Manager, Company Manager and Actors Agent - each experience informing his prized accomplishment as Producer.In 1983 John Frost co-founded the Gordon Frost Organisation with Ashley Gordon. They took a lease on the University of Sydney’s Footbridge Theatre and presented a succession of shows that would demonstrate to the pair the precarious nature of ‘the business’. Shows emanating from The Footbridge included Women Behind Bars (starring June Bronhill), ‘Night Mother (starring Jill Perryman and June Salter), Agnes of God and a ‘just sensational ‘ production of Jerry’s Girls.It’s a riveting story and John speaks frankly and with great wit, about his journey and what is involved in being Frosty the Showman; producing commercial product, increasing the profile of musical theatre and delivering a magical experience to audiences.

Meeting in 1953 in J. C. Williamson’s Call Me Madam, Jill and Kevan married in 1959. Their two children Todd and Trudy also followed a career in showbusiness. The family ‘business’ continues with grand-children beginning to make their mark in performance.Between musicals, Jill appeared in a number of Phillip Street Theatre revues, establishing herself as a versatile talent. Musicals continued to be her speciality where she would virtually steal the show, receiving unanimous acclaim from the critics and public alike. Her great break-out performance came in 1966 with Fanny Brice in Funny Girl; a role seemed tailor-made for Perryman’s extensive talents.Through her career she has explored other genres, giving us memorable performances in the plays ‘Night Mother and Brighton Beach Memoirs, an AFI winning performance in the film Maybe This Time and a moving turn as Kate in the mini-series Changi.Kevan continued to perform in musicals playing Conrad Birdie in Bye Bye Birdie and on to Pippin, Evita, Chicago and Annie and plays with Summer of the Seventeenth Doll and The One day of the Year. He extended his talents to choreography and put together a number of revues for the Phillip Street Theatre including A Cuppa Tea, A Bex and a Good Lie Down. Kevan spent 15 months as a choreographer and producer for TVW-7 in Perth and was the production co-ordinator for the first Australasian tour of Disney on Parade. He has been a guest artist with The West Australian Ballet Company and for many years was on the staff of the Musical Theatre course at WAAPA.It is a partnership that has inspired performers and audiences, on and off the stage, for several decades.

    The post Arts Magazine: KC Actors Theatre “Night Mother” & City Theatre of Independence “Exit Laughing” appeared first on KKFI.

Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Theatre First Episode 223Night, Mother (Chapel Off Chapel, Melbourne, Australia)The turbulent tale of a mother-daughter relationship rejuvenated by the daughter’s admission she will kill herself that evening.On an ordinary Saturday night Jessie tells her mother, ‘I’m going to kill myself’. Unfolding in real time over the next 90 minutes, and building like a sonata, a domesticated apocalypse reveals itself in a quiet suburban living room.As the clock ticks down to the gripping conclusion … is there time for one night of absolute honesty before it’s too late?For more information visit  https://chapeloffchapel.com.au/show/night-mother-marsha-norman/Theatre First RSS feed:   https://feeds.megaphone.fm/ivetheatrereviews  Subscribe, rate and review Theatre First at all good podcatcher apps, including Google Podcasts, Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, CastBox.FM, Podbean, ACast etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.#theatre #stage #reviews #melbourne #australia #nightmother Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

Voon allows Kishori to attempt to cure her curse. It doesn't go smoothly, and an emergency trip to the temple of the Night Mother is needed. Also, Isabetta asks a lot of questionable questions. One drop for flint can be found on twitter @OneDropforFlint Our Links: Show: http://rolllikeagirl.com Discord: http://bit.ly/RLAGdiscord Merch: http://tee.pub/lic/rlag Our links for Twitter! Livi is @liviturnbull Nicci is only on Discord, find her there Sarah is @momma_mcsnazzy Therin is @explosiverunes

Slippy, slidey, weirdo electro from The Night Mother, a mysterious group of sonic explorers from Russia. SHOW NOTES 01. The Night Mother - Slurpy Clouds02. The Night Mother - Phlux-Tor-Y-Sur03. The Night Mother - ComplicationsAll songs written by The Night Mother Find out more at Curated Doom

We were in the studio today with Neel Gill & Katherine Sparger from Selah Theatre Project to talk about their upcoming production of Night, Mother as well as future events, some behind the scenes info about productions, and how the community can help through donations including volunteering your time and skills to any of their productions. For more details and to purchase tickets, visit their website: https://www.selahtheatreproject.org/ or follow them on Facebook: https://www.facebook.com/selahtheatreproject/

This week Andrew is joined by the one and only Aidan Wachter. We catch up a bit since our last Stacking Skulls Episode and the converstation flows from there. We discuss Aidan's book "Six Ways: Approaches & Entries for Practical Magic" (which has been very popular at the shop" and Aidan's Talisman work. We also dive into what it means to be open to spirit and the connections that can be made from there.  Connect with Aidan on his website, and look for "Aidan Wachter" on the social media outlet of your choosing! Think about how much you've enjoyed the podcast and how many episodes you listened to and think consider if it is time tosupport the  Patreon You can do so here. If you want more of this in your life you can subscribe by RSS , iTunes, Stitcher, or email. Thanks for listening! If you dig this please subscribe and share with those who would like it.   Andrew       ANDREW: Welcome to another instalment of The Hermit's Lamp podcast. I'm here today with Aidan Wachter, and, you know, I feel like Aidan's a person who needs no introduction, but in case this is the first time you've run across him, let me say: Aidan's been on before by himself, Aidan is part of the Stacking Skulls, which is the mythological magical band made up of a few of the people who come on here on the regular, and we get together and talk about magic, and Aidan is a talismanic wizard and genius who produces amazing jewelry, and Aidan just has a new book out, called Six Ways, which is, as I'm sure we'll talk about in the episode, the book that I wish that I had received when I was starting, and the book that I wish I had written if I was going to write a book on magic. So, it's all of those good things. You know, I gave you a bit of an intro, but for folks who don't know you, Aidan, who are you? What are you about?  AIDAN: [laughing] What am I about? I've just been at the magic thing for a long time, and in a kind of weird pattern that I can see from now, I can kind of, and I'd imagine this is true of a lot of people, I can see at this point kind of the whole chain that got me here [laughs], and on top of the jewelry work, the kind of intention that I have is to kind of transmit as much of that as is useful to people.  ANDREW: Mmmhmm. AIDAN: Without all the detours that really were just mostly time wasters. And, yeah, I live on a little micro-ranch in the mountains of New Mexico, where most of the time it's really windy, but not today, it actually rained for the first time in, like, months!  ANDREW: Uh huh. AIDAN: With a bunch of chickens and a duck who's about to hatch a pile of ducks if that works out. I think today or tomorrow. And some goats and some dogs and my wife. And I play music, I write some, and I make a lot of silverwork. So.  ANDREW: Nice. So, I mean, somebody was asking, before this episode was recorded, you know, what's the move like? Because, you know, you've been there for a while, but has it been a year yet?  AIDAN: We've been in this house for just a little bit over a year now. About a year and a third. Yeah, the last place was a kind of weird one, cause it was kind of in a high-end homeowner association zone, of kind of Santa Fe suburbs?  ANDREW: Mmmhmm. AIDAN: Which is really not our scene! [laughs] We laughed that that house was the house that all of our parents would have been really proud if we had actually acquired intentionally, cause it was huge, and ... ANDREW: Sure. AIDAN: Fancy. And was totally not us. So, we're in this tiny little 700 square foot casita here. I was thinking about that question, and it's a little strange because, due to just setting up the ranchita here, and getting everything set up, and then my surgery and all that, we haven't really been out a lot in this area. So, to answer kind of what New Mexico has done, is really, like, what has this two and a half acres done? And so, it's not super New Mexico-like ... ANDREW: Mmmhmm. AIDAN: Perhaps in a general thing. But it's been really good. It's really quiet and it's really full of animals, in a way that we didn't expect. There is more kind of songbird activity than I've ever seen anywhere that I've lived. We've got a huge raptor population, we're in like the essentially what is like ... appears to be the raven preserve part of New Mexico. There is probably 150 ravens that clearly live within, you know, 1/4 mile of us, so there's always ravens in the yard and they come and mess with our dogs. Yeah.  ANDREW: How did you find ... So, like, I think about where I live. Right? You know? I mean, where I live and where the shop is, you know? And the shop's been where it is ... I mean, I was across the street before this, so if we include that, I've been in the same ... in both places, about six or seven years, right? And, you know, for me, so many of my spiritual practices kind of end up being kind of connected to spirits of place and in places where the spirits that I work with like to show up. You know, so has there been a change in your spiritual practice with this move? You know, before you moved this way?  AIDAN: You know, that's a somewhat strange question. I was thinking about this a lot in relationship to the book, cause there's kind of a really big move toward kind of spirits of place and kind of the bioregional animism that Marcus McCoy's coined that term and brought up. And I have some sense of that. But having moved as much as I have, which I figured out a couple months ago, I've moved 37 times, and I'm 51, so [laughs]. And so, a lot of those I was all in the same place, so. It definitely changes my sense of things, like my overall perceptions change a lot when I move, but the spirits I work with are pretty consistent. And that's mainly, I think, because I do most of my work in trance.  ANDREW: Hmm. AIDAN: And so, things change over there, but that's not really related to place. The places that I go are fairly consistent, and the shifts that happen there, happen over really long periods of time.  ANDREW: Right.  AIDAN: And those things come with me, and that stuff doesn't change based on where I live so far that I've seen.  ANDREW: I can see that. I mean, for me, so much of my work, my work sort of out in the woods and whatever, is connected to the spirits of those places, for sure, but it's also as often as not connected to like, you know, I can go find a willow tree anywhere, I mean, you know, in the greater sense of Toronto and the surrounding areas and many other places, and once I'm hanging out with the willow tree I can do willow tree stuff, you know?  AIDAN: Right.  ANDREW: So, like it tends to be more tied to feature, and tied to species of plants or things like that than it tends to be, you know, like I want to go find somewhere really swampy, I want to go, you know like I really love the ... me and the redwing blackbirds have a thing, you know, so I need somewhere that's marshy and they're gonna be there then. But you know, the places that I tend to go tend to be predominantly because they are the most convenient to where I'm living or working ... AIDAN: Right. ANDREW: Versus explicitly tied to the land. AIDAN: Right.  ANDREW: So.  AIDAN: And then the ... yeah, and I kind of get that with the animals. So, for me, like, the ravens have always been a big deal for me anyway ...  ANDREW: Mmmhmm. AIDAN: And so that's a presence here. And we are ... we have lured in an insane rabbit population that is basically merging with our chicken flock now. And you'll look out and they're all hanging out at the feeders, or they'll be sharing the waters, and ... I have a thing with the rabbits too, so ... they're kind of my underworld creature. ANDREW: Nice. AIDAN: And then the other thing that did happen here, is, and I have to go back, I haven't spent enough time there, you know is there's this really ancient Guadalupe shrine here.  ANDREW: Mmm. AIDAN: That's, I don't know when that ... I mean, it's old. I want to say it's more than 300 years old, I think. And like that place is one of the most intense power spots I've ever been in. Like that's been continuous use for hundreds of years. And that's ... Yeah, that's an amazing place. That was ... I mean I know that that changed some of ... That certainly affected me, was spending a few hours in there. There's another church that's dedicated to St. Michael, but I haven't been up there yet, those are both in Santa Fe. And, yeah, I mean, New Mexico is really interesting cause it's such a different place than anywhere I've ever lived. And especially kind of down where we are, which is really rural. We're not in ...  ANDREW: Mmmhmm. AIDAN: You know, we're not in anything like hoity toity ... We have a Walmart, a gas station, and three or four feed stores. [laughs] ANDREW: Right.  AIDAN: You know, we live in the neighbourhood where you see, you know, somebody's escaped horse running down the road.  ANDREW: Right.  AIDAN: With people chasing it. [laughs] So it's ... I love the spaciousness and the open ... It does remind me a lot of trying to see where we were except that I'm not as wrecked by allergies as I was in Tennessee.  ANDREW: [10:04 crosstalk]  AIDAN: That openness definitely is really helpful. The clear skies, basically all the time, is really helpful for me.  ANDREW: Hmm. So, since you were last on the podcast ... AIDAN: Mmmhmm. ANDREW: So, you know, the Stacking Skulls crew was on, end of January, early February, you have this book that came out, and I don't usually do book episodes cause I think that they're not that exciting. AIDAN: Totally. ANDREW: But your book has been super fascinating to me. Because I think that it represents such a grounded introduction ... AIDAN: Mmmhmm. ANDREW: To magic, and such a grounded introduction that is not ... Not invested in making you believe something.  AIDAN: Mmmhmm. ANDREW: So many books are ... you know, they're like, "Sign up for the Golden Dawn, we'll give you the special apron, and you'll be a believer. Sign up for this, or sign up for that," you know, like, and not that there's anything wrong with having a belief system or expressing that belief system, but, I feel like your work is sort of devoid of that in an overt way that I think is very fascinating.  AIDAN: Yeah. I think that ... It was really interesting to me, and I'm glad that that comes through, cause that was certainly the intent, that when the book started, when the book kicked up, and it kicked up really fast -- the framework took about two weeks to write, and then it just took me another two years to finish, basically. Any time I would try and go even vaguely into "let's talk about how you should do something," [laughs] like I would just get kicked by the allies, like, "that is not why we want you to do this," like, "do what you would do."  ANDREW: Mmmhmm. AIDAN: And there wasn't a lot of that to begin with, but it really did get weeded out pretty aggressively, cause I don't think it's generally relevant to the practice of magic. I talk about the general and the specific in the book, in a few places, and I don't go incredibly deep into it, but that's kind of my take, is we tend to get lost in the specific in a lot of our conversations or books or whatever about magic. Which is great for the people that are doing the exact same kind of work. But it makes it kind of difficult for somebody that's not, that they don't really fit that mold, to figure out what parts you can use and what parts are really important. If it's really important that I know all these names or all these correspondences or all of these ... or that I work with these specific gods, does that mean that I can't do this work?  ANDREW: Mmmhmm. AIDAN: And I was definitely looking to counter that.  ANDREW: Yeah, I think it's great because ... You know, we have a lot of conversations going on around sort of appropriation, and, you know, what do we do with, you know, other people's histories, and other people's spirits, and other traditions, and stuff like that. And I think that it's really sticky to sort of go through and read a bunch of books and cherry pick all the pieces that you want, you know?  AIDAN: Yeah. ANDREW: And kind of put them together. Cause it might work, and you might unlock something, or you might end up with a lot of trouble, or you might be fooling yourself, or you might just rub all those spirits the wrong way, and it's really kind of arrogant of us as humans to sort of think that we can understand all of that in a way that kind of goes beyond that, you know?  AIDAN: Totally. ANDREW: And I say that as a person who at points in my past has been arrogant in those ways, you know?  AIDAN: Mmmhmm. Me too!  ANDREW: And I've discovered things and been like, "Huh. That would have been way better had I not done that thing..."  AIDAN: [laughs] ANDREW: Or whatever, right, you know?  AIDAN: Right.  ANDREW: Yeah.  AIDAN: Well and I think too, I think that there's a big part in there which is, you know, kind of, I keep blasting out this thing from Ido Portal, who's kind of a crazy movement guy with a capoeira background, but he's gone all over the place. Where he talks about that there's a point where information becomes too much, and it's no longer helpful. And he means that in a developmental sense, like learning more data, more or less, more systems, more theories, at some point actually stops helping you, and it kind of turns on you, and so, I think that that was a present thought in the book too, was like, what's ... how much can I give you, it's kind of why the title of approaches and entries is, how many different doors to interesting spaces that are helpful in my experience can I get you through?  ANDREW: Mmmhmm. AIDAN: And then, I don't want to give you much more information than that ... ANDREW: Right. AIDAN: Because if I do, that's going to color what happens when you walk through them.  ANDREW: Mmmhmm. AIDAN: And so, instead, I'd rather have you walk into that space, and go "Okay, what goes on in here?" And see. Cause what goes on in there for you is likely to be really different than what goes on in there for me or for Andrew or anybody else.  ANDREW: Sure. AIDAN: Unless we come in with such a clear picture of what is supposed to happen in there that that just shades everything. And we kind of get what we expect. Versus what might be way better for us to get in there.  ANDREW: Yeah. Yeah, it's amazing the shaping influence that our consciousness plays on things, right? and our preconceptions and so on, you know?  AIDAN: Mmmhmm. ANDREW: And I think that this sort of notion, you know, I shared a video the other day, I'm working on a new tarot deck, and it doesn't have a title, but, like, so I finished my Orisha tarot deck and handed it in to Llewellyn in April, and as I was doing the final steps of that, I created a ... and that, the Orisha deck was very very structured and very very thought out, you know, and inspired when I was actually doing the art, but like the, but so much of it ... Sorry for that brief interruption! And then I created this sort of surrealist, very dream-inspired black and white deck, and then I realized what I wanted to do was just like basically slop paint around and make something really bright and colorful, so I've been making this deck and I was working on the Judgement card, which is what I shared recently ... AIDAN: Mmmhmm. ANDREW: And, as I was sort of like working on it, and sort of allowing something to emerge, I was like, "Why do we have to see the angel? Why do we even think the angel looks like us?" AIDAN: [laughs] ANDREW: "Why is the angel anything other than, like, light and motion?" You know?  AIDAN: Right. ANDREW: It's sound, right? You know, and I think we have so many notions about, they look this way, they look that way, they, you know, have this shape or that shape, yet, in my experience it's not true. My experience is that they are so utterly other that we create that layer on top of them so that we can interface with it, but even that's not required. You know?  AIDAN: Right. Well, it's funny, I have this very, if we were to talk image, there's an entity that I visit in a southern place that's this fire spirit, and it's kind of like a traditional, I would think, positive view of Lucifer, as like look, this very fiery ...  ANDREW: Mmmhmm. AIDAN: Bright, intense being. Very masculine. And for the last, I don't know, five months, half the time if I go into that space, he looks like that, and half the time he looks like Gary Numan's daughter, Persia. There's like this 12-year-old blonde girl, that's in his, if you go and watch the "My Name is Ruin" video by Gary Numan, she's the girl in there. So obviously this came from me. There's no reason that this thing has watched this video. [laughs] And it clearly just kind of grabbed that image as something that it liked, to present as. Or, I just overlaid that image, that somehow there's energy there. It doesn't really matter ... ANDREW: Mmmhmm. AIDAN: But it was really helpful in some ways, I think, to just realize, yeah, this is my avatar, in the old RPGs or whatever ... ANDREW: Mmmhmm. AIDAN: Right, I've got like my little image, and that's what we're generally interacting with. I deal with a number of spirits that change all the time, and like, there's just, it's either like, there's something in the eyes, or if they speak I know, or sometimes there's just a vibe that they give off, but that they've never been the same thing twice. And if I come in thinking "oh, this is an angel that has wings" or whatever, I may not have been able to see all of these different aspects.  ANDREW: Mmmhmm. AIDAN: And I'm not sure whether those aspects are more important just as to my own self or to them or whatever, but it does leave it really ... It leaves it ... It kind of keeps you from instilling ... At least it keeps me from instilling dogma about it.  ANDREW: Mmmhmm. AIDAN: Whereas if I said you're going to walk into this space, and you're going to meet this, you know, fiery being, who's a slender man, six feet tall, well-muscled, right? the kind of standard shit you see in the old stuff ...  ANDREW: Mmmhmm. AIDAN: And you walk in and like, no, you see this 12-year-old girl in a kind of ratty shift, with, you know, white painted cross on her forehead, do you not realize that that's the thing that you're supposed to be? Probably, right? Cause that's not what it looks like.  ANDREW: So, how do you ... How do you verify, or do you verify, who you're talking to, then?  AIDAN: [laughs] Well, I'm a little weird on that sense from what I understand, talking to people. Almost nothing that I work with has a name.  ANDREW: Mmmhmm. AIDAN: And the few times that I've tried to get names out of most of them, they don't give them to me. They'll either give me a title ... ANDREW: Mmmhmm. AIDAN: Which they're really clear is a title. Or they'll just like make something up. [laughs] ANDREW: Call me Steve! AIDAN: Yeah, call me Steve! [laughs] Totally. I just look for how useful what I'm getting from them is, and then over time is it consistent with them? ANDREW: Right.  AIDAN: So, there's a being that I think I've mentioned before when we were talking that I work with called, that I call the Night Mother. And she's always functioning the same with me.  ANDREW: Hmm. AIDAN: But again, some of the kind of allies that I've met through her are also what I kind of refer to as collective or hive beings, we've talked about that before. So, I'm not certain that she's not, you know, kind of again an avatar to a collective. ANDREW: Right.  AIDAN: She doesn't feel that way. She feels very solid and there's links to a lot of different deities that I could say ... ANDREW: Mmmhmm. AIDAN: This is on the continuum with these other kind of particular goddess figures.  ANDREW: I think that's actually a really interesting point if you don't mind me segueing here for a second.  AIDAN: Yeah, go ahead.  ANDREW: You know, there's always this question that I run into, right? Because ... and let me start by saying, hey, whatever people do is whatever people do. Like, you know. Neither -- I don't think either of us are here to neither judge nor claim to know the ultimate truth, right?  AIDAN: Oh, hell no! [laughs] ANDREW: But like there's this ... But there's this sort of point of tension that happens, because I practice a traditional religious practice, and because I have such a background in magic and chaos magic and other traditions like that, and because I still practice spirit-based magic and stuff, mostly around my business and my clients, for my clients. But, you know, like, people have these experiences where they say, "this Orisha spoke to me," or "I saw this spirit," or whatever, right? And I think that there's this openness in your approach, which I really think is super smart, which is to sort of say, "Yeah, it's a spirit from like, that collection, or from that like, direction, or from those kinds of things," right?  AIDAN: Mmmhmm. ANDREW: As opposed to sort of leaping to this sort of assumption that, you know, Zeus himself strode out from Olympus, wherever that might be, and came to see you. Yeah, maybe it was Zeus. Maybe it was a Zeus-like thing. Maybe it was a spirit related energetically to that, you know? You know and because, so many people have interactions with these different spirits, and yet, and yet, you know, certainly from a traditional point of view, the belief is that they are not those spirits themselves. That the Orishas themselves only generally speak through their priest craft.  AIDAN: Right.  ANDREW: So, then what's going on with all these other people who are having some kinds of experiences? Especially where those experiences carry truth or carry through in some way, right?  AIDAN: Right.  ANDREW: And I think that this idea that there are, you know, there are certain spirits or deities or whatever you want to call them, and then there are, kind of like when we go read the Goetia and stuff, you know?  AIDAN: [laughs] ANDREW: There's this person, and then they've got 300 governors, and they've got 26 servants, and they've got, you know, this, that, and whatever, right?  AIDAN: Right.  ANDREW: And to think that we've gotten so cleanly and clearly to the top of that order, you know, is somewhat presumptuous, especially in the absence of clearly definable magical process to get there. You know?  AIDAN: Right.  ANDREW: Like, if you're going to call Balail, well, there are documents and there are ways to go about it, and there, you know, and then that seems way more likely. But to think that Balail's out just strolling around, and bumps into you on the street and wants to have a conversation with you, maybe not so much, but maybe a spirit from that crew, you know? Or do you disagree with me? What do you think?  AIDAN: No, I actually do, and I mean, that's where I kind of, that whole think is what led me into kind of what I refer to in the book as biological animism at one point ... ANDREW: Mmmhmm. AIDAN: And so, I go, "No!" Like, I've got, you know I'm made of these ungodly number of different types of cells and different structures ... ANDREW: Yeah. AIDAN: And a lot of them do basically the same thing, right? So, all my motor neurons are doing the same thing. They're doing it in different parts of my body and they're connected to different structures, so when they do that same thing, different things happen, right? But so, I began thinking about the entities that I was kind of interacting with in that sense, you know, again, this will probably not be comfortable for some folks, but, if we kind of view that the crossroads is this, extensively spread thing, whether we ... especially if we add in all the structures that are like it, so if we look at the tree, if we look at the center posts in some religions, and some forms of shamanism, and if we say, all these things are crossroads-like, they're kind of cognates of that ... ANDREW: Yeah.  AIDAN: They serve a similar function, right? And so, it makes sense to me that all of those beings that we find wed to that idea in all of these different cultures are probably of a type, to some degree.  ANDREW: Mmmhmm. AIDAN: And this isn't to say that you don't find individual things, I don't know enough to say that that's not the case, and I think it probably is. I'm not saying they're all the same, which is one of the things that you get in some arguments, which is not the one that I make at all. But ... Like, I know that my work is highly connected to that space.  ANDREW: Mmm. AIDAN: And, if I look at the kind of spirits that I operate with, a lot of them operate within that function. And they do show as very different, but yeah, it's like, there's a thing that I interact with that is very Woden-like, but I don't know that that's Woden. And you know, I had a really interesting experience in trance a couple years ago, in relationship to that specific thing, and the ... Another being that I dealt with told me to go find a Woden and ask my question to the Woden that I found. [laughs] And I kind of asked for clarity on that, and they were just like, really clear about it, like ... ANDREW: Yeah.  AIDAN: You just, you don't worry about it ...  ANDREW: You just, you go find one!  AIDAN: If you go find one, they all do the same thing, more or less, was the idea. Any of them will be able to help you out.  ANDREW: Yeah. AIDAN: And again, it depends on what you come with. I didn't come with something that said this is one deity is ... ANDREW: Mmmhmm. AIDAN: 100 percent discrete from all other beings. And therefore, you know, there is a lot of silversmiths. There is a lot of magicians. ANDREW: Sure. AIDAN: There is a lot of ... And it's not necessarily that you're always going to need that one in specific to help you.  ANDREW: And it's not like all magicians are of the same category either, right?  AIDAN: Right. ANDREW: You know? Yeah. AIDAN: Yeah. You know. But yeah, there's a certain point where someone's going to say "yeah, you should go talk to a goetic magician," or "you should go talk to someone that works with the Orishas." Cause they'll be able to help you the best in this particular situation ... ANDREW: Yeah. AIDAN: You know. To me that just seems pragmatic and in my experience, it's been consistent. I don't know that it's the truth or anything like that, but it's been consistent.  ANDREW: Who knows what that is, right? [laughs] I'm gonna leave that for another time! AIDAN: Yep, absolutely.  ANDREW: So, one of the questions though, since we're talking about going and visiting the spirits, right? Someone commented on one of the Facebook posts about this podcast that they were curious about how they could deepen their trance. You know?  AIDAN: Mmmhmm. ANDREW: How do you get deeper, you know, and I think that really, that's part of the whole spectrum of how do you get there faster, how do you get there easier, how do you go further, how do you stay there longer ... AIDAN: [laughs] Right.  ANDREW: What kind of advice do you have for people trying this out?  AIDAN: So, I only really can speak to my own experience and that I've helped a few people with this thing, I'm not ... ANDREW: Mmmhmm. AIDAN: I've done a little bit of teaching but not a lot. So I don't have a vast body of students where I could say, "This always works!" So, I have no idea if this always works. It might! The two things that ... The first thing I would say has to do with the speed issue, and that is to slow down. And that doesn't mean not to try and get deeper now, but as you go in, slow the whole process down, so like at the point that you get relaxed enough to go in, through whatever kind of induction you use, do that for a longer period of time and see if that will settle you further out.  So, for me I do almost all of my trance work flat on my back, and I mention it in the book, but one of the things that I find really helps is I lay pillows over my body, and that that weight kind of holding me down seems to do something to help me separate more from my body sensations. I don't have, it keeps me from wanting to kind of wiggle my toes and do stuff like that. It's not like I'm always buried or anything, but that definitely has helped. And so slowing that process of getting in, to me is always a good thing, and then once you get in, to really do what you can to kind of intensify the sensoria of whatever it is you're getting. And this may be visual, it may not be visual. I have both visual and nonvisual stuff that goes on this way.  And so, we'll just assume that this is a visual thing, that you've got it to the place where you actually can get a sense of things. And for me, this is not ... I always, I never know how to describe it, but it's "like" vision. I don't have the internal space that I'm always seeing everything, like I'm seeing you on the screen ... ANDREW: Sure. AIDAN: But, I have a clear sense of what things look like, and I don't know if that makes sense to anybody that's not been there, but ... ANDREW: Well, I find for me personally, I find that I was pursuing that sight piece a lot ... AIDAN: Mmmhmm. ANDREW: A long time ago, and got quite far with it, and to be honest now I've largely abandoned it.  AIDAN: Right.  ANDREW: I'm like, man, it's so much work to get to that place. I could actually ... I realized at some point that I could just kind of know, instead ... AIDAN: Yeah!  ANDREW: And I like that a lot better, because I'm like, I just kind of know, and if I need visual information, I can receive it as sort of a blending of sight and knowing, but it means, especially because I can do a lot of this work sort of sitting with clients and doing readings, and sliding in and out of these spaces, it's so much more convenient to just like know things and just be able to articulate them ... AIDAN: Right.  ANDREW: And I don't have to get to that place where I'm sitting looking at the thing and so on. And not that that's not interesting, but ... Yeah, it just seems less helpful to me over time.  AIDAN: It's ... The thing that I've found, which is, and I totally agree with that, and the thing that I've found that is helpful, and it's totally okay, this is one of the places where the kind of "fake it till you make it" actually works in magic ... ANDREW: Yeah.  AIDAN: Which is, what I talk about in the book, is kind of talk to yourself about what you would see. ANDREW: Mmmhmm. AIDAN: And part of what happens, I think, when we do this for people that aren't kind of super visual in that space, and I am not super visual in that space, and what it did for me was it began to kind of break that need to see everything.  ANDREW: Right. AIDAN: In technicolor. ANDREW: Mmmhmm. AIDAN: Cause it's like, I was proceeding anyway, so whatever part of me was resisting getting what visual information I do get kind of gave up. And so, to me once I get, if you get into a space, play with what's in that space rather than necessarily going "I want contact."  ANDREW: Mmmhmm. AIDAN: So for me, the majority of my work I do in the West, in the West where I go is very moist. ANDREW: Mmmhmm. AIDAN: A little bit of fog, but it's not foggy, but it's more like you see the wisps of fog through the trees and the forest sometimes kind of thing, and I try to, if I'm not kind of getting the feeling that I'm in super well, I'll start trying to get a little more about whatever, so if I notice that there's water running, what does that feel like? What does that ... What is my sensation on my skin feel like?  ANDREW: Mmmhmm. AIDAN: Do I want, am I cold? Am I ...? ANDREW: Yeah. AIDAN: Am I warm? Can I hear the water? Is the water like, drippy?  ANDREW: Mmmhmm. AIDAN: Can I find water that I could drink?  ANDREW: Mmmhmm. AIDAN: Which is, you know, if you're talking to the fairies, this is not recommended, but I'm always all for drinking the water when I can in the other world. But, and that type of process is the thing that's really worked well for me. And it kind of syncs up to kind of the main theme in the book I think which is kind of go as deep as you can with wherever you are ... ANDREW: Yeah. AIDAN: Rather than trying to add more to it.  ANDREW: Mmmhmm. AIDAN: And see what happens.  ANDREW: Yeah. For me I did ... I used to do this process a lot, which I still sometimes do. Which is, I would sort of as I start sliding into trance I would start picturing myself on this path into the woods, right?  AIDAN: Right.  ANDREW: And, as I was walking, I would sort of focus on the idea of walking the path in the woods until I could hear crunching of the gravel on the path under my feet. AIDAN: Right. ANDREW: And then I would pick up a set number of stones and drop them back and hear them dropping back. And then after I'd accomplished that, then I would put my hand on the tree and feel the bark and what that felt like. And then, at that point, I would turn and see that I was at the end of the path, and it was opening up to wherever I was going, which was usually the same place. AIDAN: Right. ANDREW: Like very structured pieces. It sort of emerged though, not from the notion that like, you know, I'm going to go, like, if you're going to visit somewhere very structured, there are structured ways to get there, right? Like ... AIDAN: Right. ANDREW: Like maybe path workings on the tree of life, like there's tons of great stuff on that, you can take a look at that, but for me it was like, there's this thing where I started to notice this stuff, and there was this dance back and forth between noticing what I was experiencing and then engaging back with it, back and forth ... AIDAN: Right.  ANDREW: And then that kind of solidified over a few months into that process. AIDAN: Right. And that's ... I would say that, yeah, very similar things, again like, if I go to the West and I'm not feeling like I'm at a place where I can connect with the things that I deal with yet, then I'll find a spring, that's kind of one of my things, it's like I want water running off of a rock.  ANDREW: Mmmhmm. AIDAN: And then that's a place where I can kind of wash my hands and bless myself with that water or drink some of that water, and then continue from there. And it kind of is this process of deepening that. You know, when the allies show up, not necessarily, I don't tend to go very hard with them if they do show up, it's just kind of like, what goes on here? [laughs] ANDREW: Yeah. AIDAN: You know, what ... is there anything you want to show me?  ANDREW: Mmmhmm. AIDAN: Is there ... cause usually I find that trance is not the place that I initially go for answers to questions unless I already have somebody that I know I can go visit to do that with, so it's really just about making those connections and like, what shows up for me in here?  ANDREW: Mmmhmm. AIDAN: Is there something going on for me in this space? And a lot of times it takes a long time. There's places that I go back to repeatedly, dozens of times, before anything really happens, that's of any, yeah, describable import. ANDREW: Mmmhmm. AIDAN: And so I think it's just time and yeah, seeing what happens, like it was really interesting, like, when I started traveling to the West, I would go to the ocean a lot. ANDREW: Mmmhmm. AIDAN: And for the last five years, there has been nothing for me to do at the ocean. [laughs] So I kind of don't go there! If I get called there, which happens, that's happened a couple times, but in general, like, this is kind of boring ... ANDREW: Mmmhmm. AIDAN: This is not my place, where there's other spaces that are far more interesting and where I actually have work to do and that's where the allies are generally waiting for me. ANDREW: Hmm. AIDAN: And again, I think it's probably different for everybody. I go to very few places. But I go to those places very frequently. And kind of the same thing on the entity front or deity front, I work with very few, but I tend to work with them as much as I can, to do the work that I want, like the idea of having 72 spirits or something to work with is like, WHY?  ANDREW: Yeah. AIDAN: What's the ... [laughs] what would I do with that? That's more friends than I have. [laughing] By a long shot! I don't know what to do with all of them! [laughing] ANDREW: Yeah. I think that's, I think that ... You know, people ask me, like, you know, what deck is the best, or whatever, like, and, I mean, I have one deck. I read with it. I have three unopened copies in a drawer because it's out of print, and if it doesn't come back in print I don't want to be sad down the road that I can't replace it. You know?  AIDAN: Mmmhmm. ANDREW: And like -- and before I worked with this deck, which has been the last number of years. You know, at some point I worked with another deck for like the better part of ... I don't know, somewhere between 15 and 20 years exclusively, and I think that there's something that ... there are different things that come, right? There's something that comes out of ... we talk about devotion, right? You know and sort of being devoted to a deck or to something particular, I think it brings about a different quality of change, than, you know, than having 72 friends or 72 decks or whatever, and I don't know that either is bad, but sometimes I don't understand what's on the other side of that equation, because it's so far from my journey with things ... AIDAN: Right.  ANDREW: That I don't know what to do with it. You know?  AIDAN: No, and I totally think that there is ... I don't ... I know folks that work extensively with, you know, whether it's Goetia or Enochian or all sorts of different systems that are incredibly involved, and it appears to work well for them, so it's not, I have no issue with it, but for me, that's definitely not my approach. You know. It's like I kind of covet another guitar, but I've got two acoustics and one electric, and I don't really need one to do what I do and so it's kind of like that just hangs out on the back burner, and I like to shop for them, but I don't like actually to pull the trigger for them. ANDREW: Right. AIDAN: And the same as you, even though I read with cards, very limited, you know, I recently found one deck that reads really beautifully for me and I have four copies of it, because it was going out of print.  ANDREW: Which one?  AIDAN: I use the, what is this guy? It's this guy, it's the Arcana deck from Dead on Paper. ANDREW: Okay. AIDAN: It's a playing card tarot deck.  ANDREW: Mmmhmm. AIDAN: So it's, you know, it's poker sized, but it has the full trumps. And court cards are all fully arted up, but all of the suit cards are playing cards.  ANDREW: Nice. AIDAN: And it reads really well for me. Yeah. I bought it, I got two of them and started reading with it, and was like "oh, hell, these are about to go out of print," and had to track down two more just in case.  ANDREW: Mmmhmm. AIDAN: So.  ANDREW: That's awesome. So, when you ... one of the other things we were talking about, we've been talking a lot about trance stuff, right? But I mean, one of the other things that we ... certainly is in your book, right? and I know is part of your practice, is also this process of like, doing work, right?  AIDAN: Right.  ANDREW: Do you do your work when you're in trance? Do you do your work elsewhere? AIDAN: [laughs] The answer is yes to all of those.  ANDREW: Mmmhmm. AIDAN: And this is the other thing I was thinking about this in response to the deepening trance work and so this is one of the methods that I do really like for that, and I forgot about it earlier, so thank you for the question, too. Most of what I do on the surface is offerings ... ANDREW: Mmmhmm. AIDAN: And then asking the people that I have a regular offering practice with for help. Which is just talking. And then I do a lot of kind of simple candle magic as I talk about in the book. And I do a lot of sigil magic.  I also do, that's almost the wrong approach, related to that, is that there's an aspect of all that work that I do in trance. There's very little that I do that I could define as being discrete work. Some of the sigils are, and some of the candle magic is, where this is the only thing I'm doing, is I'm going to ask this once for this one thing. Almost everything is done as an overview.  ANDREW: Hmmm. AIDAN: Or as a piece of a bigger whole. ANDREW: Yeah. AIDAN: Which is kind of the ship that I talk about in the book, is this whole magic thing in my life and all of its aspects are in general focused in one kind of coherent direction. ANDREW: Mmm. AIDAN: And I'll use different tools to sort out pieces that need to change, or to steer that, kind of the whole thing, but I'm rarely doing anything super specific that is separate from that. If we were just looking at kind of percentage wise, you know, maybe five percent of stuff is going, "hey, I want this," or "I need a little more oomph over here" or "can we make this stop?" ANDREW: Mmmhmm. AIDAN: And so, that tends to be that I'm getting information on the trance side, I'm getting what I kind of, what I refer to as body work over there, I get a lot of experiences with the things that I deal with in trance kind of putting themselves into my body and it's ... it feels kind of like physical body work. ANDREW: Mmmhmm. AIDAN: Too, and my experience of it is, is that they're kind of adjusting psychic structures, or clearing blocks, or removing kind of bad attachments. And so that's often one of the places where if I'm doing a lot of work for something, one of the allies will offer some assistance. Either in thinking about it or in this kind of body work approach. And that totally, so they're all, they're all very integrated.  And then the other piece, which is the one that I mentioned, is helpful for getting into trance that I do, is ... And I don't do this all the time, but it's a really useful technique that can be worked with if you've got a pretty solid trance space and ... If you're using the book, I would do this in the upper work space in the tower that I talk about, which is kind of just a mostly empty working room that has a table in it, and so that's the first place I would try this. And what you do is, in the waking world, get a box, get a wooden box, and clean it up, and then paint it in some way that's really clear, so, you know, mine is like blue or black and has big dark blue circles on all the sides and on the top, so it's really clearly this box. And I think it's important to make it -- there'll be no questions there. And it's really ... Mine is really simple cause again my visualization skills aren't that great. [laughs] And what I will do sometimes is if I know I need a little different angle of work, is I'll put the components for that work, I'll do whatever kind of ritual or spell work I'm going to do, and then all those pieces go into the box. So, if I'm going to do candle magic, I might, you know, inscribe two candles and prep one of them and burn one of them and the other goes into the box. And if there's a sigil that goes with it, that goes into the box. Or if there's a talisman that goes with it, that goes into the box. Or a crystal or something like that. And then put that box together, in whatever your working space is, closed up, and go on about your day or whatever, and then when you go into trance, go into, in this case, that tower space, and go in knowing that that box is going to be available to you. ANDREW: Mmmhmm. AIDAN: And so I'll walk into that space, if it's not already on the table, I kind of imagine that I'm going to reach into the box is usually in the shop here, into the shop from the tower, and bring that box in with me. And then I'll do that spell work from that space in trance. And that's one of the most useful things that I have found for really -- it doesn't necessarily improve your visualization or anything in trance, but as far as, it concretizes what's going on. ANDREW: Yeah. AIDAN: It builds a really solid link between your kind of more normal consciousness and that space that you get into in trance work.  ANDREW: That's awesome. Yeah, I think figuring out how to like, connect here to there in as many ways as possible is definitely the way to go. AIDAN: Yeah. [laughs] Definitely makes everything work better ... ANDREW: Yeah. AIDAN: In my experience, for sure.  ANDREW: Cool. So, we've been talking for a while here, so maybe we're at that point where we should say "Hey, go buy Aidan's book, it's fantastic. If you're not already following Aidan, go follow Aidan." You know? AIDAN: [laughing] ANDREW: Yeah. Where should people come find you?  AIDAN: I'm at aidanwachter.com. I'm Aidan Wachter on everything. Except you can probably find me as Aidan Wachter on Twitter too, but it's silfrsmith [rooster crowing in background] in the old Norse spelling on Twitter, but Aidan Wachter on Facebook, I've got a page, Aidan Wachter Talismanic Jewelry. The book is available generally all the online sources. I'm too busy with jewelry to try and deal with distribution, so, there's really no ... no stores have it as far as I know. And yeah, I'm just generally around, if you do a search for Aidan Wachter Talismanic Jewelry you will find something that will lead you to all the rest of it. [rooster crowing in background] ANDREW: That's awesome. Well, thank you for making the time to chat today. AIDAN: Absolutely.

Supernatural Storytelling. Experience Snap's new haunted podcast, "Spooked!"  Featuring "Houdini’s Promise" and "The Night Mother."  

There are times when you are supposedly all alone.  And then you see her, him or it out of the corner of your eye...watching. "Houdini’s Promise" - Can a pact between two brothers survive death? "The Night Mother" - It’s the middle of the night. You’re not even 15, and you’re home alone with your little brother. You’re waiting for your mom to come home.  What would happen if she didn’t make it? "Voice In The Woods" - When the voice says "Stop" you stay perfectly still.  And when the voice says "Run!" you had better run.    

Host William Powell, The King of DC Media, welcomes Highwood Theatre's Directing Fellow Madison Middleton and cast of the theater's upcoming professional production and season opener 'Night, Mother written by Marsha Norman.    'Night, Mother - Thelma and her thirty-year-old daughter, Jessie, live together in a comfortable, country home. With their plans of manicures and small talk, the evening seems to be a normal one until Jessie brings down her father's old gun from the attic. Marsha Norman's Pulitzer Prize winning drama ruthlessly exposes the extraordinary within the routine, the urgency within the normal, and the sorrow within the mundane. Buy tickets by clicking here: Friday, September 23 at 8:00 PM Saturday, September 24 at 8:00 PM Sunday, September 25 at 2:00 PM Friday, September 30 at 8:00 PM Saturday, October 1 at 8:00 PM Sunday, October 2 at 2:00 PM

In this episode of Bates Motel, we spend some quality time with Norma and Norman. Although it’s not all His Girl Friday, card games and cake baking… Nope- it’s comprised mostly of suspicion and antics. Of course it is. Oh, and one other little thing– Romero accepted Norma’s fool marriage proposal, and it was enough…Continue reading →

In this episode of Bates Motel, we spend some quality time with Norma and Norman. Although it’s not all His Girl Friday, card games and cake baking… Nope- it’s comprised mostly of suspicion and antics. Of course it is. Oh, and one other little thing– Romero accepted Norma’s fool marriage proposal, and it was enough…Continue reading →

Jay D. Schwartz brings extensive public relations experience and the professional zeal of “an aggressive New Yorker” to his approach of doing publicity. His eclectic roster of clients includes Scott Bakula, Rocky Carroll, Cheryl Ladd, Mary Murphy, Jaclyn Smith, Louis Van Amstel, and Mary Wilson among others. Best known for his personality representation, Schwartz achieved initial success in the field of theatre. In his first position in PR at Solters/Roskin/Friedman in New York, he worked on the Broadway hits “Nicholas Nickleby,” “42nd Street” and “Lena Horne: The Lady and Her Music.” After a brief stint with Burnham-Callaghan & Associates working on accounts such as Patti LaBelle, Al Green and Elliot Gould, Schwartz worked on “Night Mother,” “Hurlyburly” (both New York and Los Angeles productions) and “Ma Rainey's Black Bottom” with Broadway producers Fred Zollo and Barbara Ligeti. In 1985, Jay moved from New York to Los Angeles and joined Nanci Ryder Public Relations, which evolved into Baker/Winokur/Ryder Public Relations (BWR). Jay opened his own PR firm, JDS, in 1995. Over the years, Jay has worked with such diverse clientele as Christopher Walken, Drew Barrymore, Jean Claude Van Damme, Lauren Bacall, Danny Aiello, Anita Baker, Gladys Knight, Luc Robitaille, Sugar Ray Leonard and many others. Jay has always approached publicity with a personal touch, merging a roll-up-your-sleeves work ethic with an emphasis on building and maintaining relationships at both the personal and professional level. For more information on Jay D Schwartz check out www.jdspr.com   Some of Jay's favorite episodes of Quantum Leap are Jimmy, The Color of Truth, Shock Theater, Double Identity, What Price Gloria?, Catch A Falling Star, and Lee Harvey Oswald. Let us know what you think… Leave us a voicemail by calling (707)847-66 82 and send in your thoughts, theories and feedback, send MP3s & email to quantumleappodcast@gmail.com. Also join us on Facebook.com/QuantumLeapPodcast and Twitter.com/QuantumLeapPod and www.patreon.com/QuantumLeapPodcast . You can also help out the show by shopping at Amazon using our affiliate link… https://quantumleappodcast.com/Amazon

After an unscheduled delay caused mostly by a certain male sibling’s recent life changes/laziness, Novel Ideas returns with ‘night Mother by Marsha Norman. We read this play because it is award winning and unlike our previous two plays, written by a female playwright. We brought back special guest Jessica Showers (at least at the time of recording) […]

Grade 4

Marsha Norman was awarded the 1983 Pulitzer Prize, Susan Smith Blackburn Prize, Hull-Warriner, and Drama Desk Awards for 'Night Mother, which received its world premiere at the A.R.T. in 1982. Her play Traveller in the Dark also premiered at the A.R.T. in 1984. Ms. Norman won the 1992 Tony Award and Drama Desk awards for The Secret Garden; and the John Gassner Medallion, Newsday Oppenheimer award, and the American Theatre Critics Association Citation for Getting Out. Other plays include Third and Oak, The Laundromat, The Poolhall, The Holdup, Traveler in the Dark, Sarah and Abraham, Loving Daniel Boone, and Trudy Blue. Published work includes Four Plays and a novel, The Fortune Teller. Television and film credits include Face of a Stranger, starring Gena Rowlands and Tyne Daley. Grants and awards include National Endowment for the Arts, the Rockefeller Foundation, and the American Academy and Institute of Arts and Letters; Ms. Norman also serves on the council of the Dramatists Guild. Ms. Norman was born in Louisville, Kentucky; received her B.A. from Agnes Scott College; and her M.A. from the University of Louisville. Since 1994 she has served on the faculty of The Juilliard School.

Pulitzer Prize-winner Marsha Norman compares the gathering and rituals shared by theatre and houses of worship; explains why she could never have written "'night Mother" now that she's had children; talks about her specific goals in crafting the lyrics for "Lily's Eyes" in "The Secret Garden"; considers whether playwriting has actual rules and can be taught; and compares the story of "The Color Purple" to the classic tale of Cinderella. Original air date - October 20, 2006.

Pulitzer Prize-winner Marsha Norman compares the gathering and rituals shared by theatre and houses of worship; explains why she could never have written "'night Mother" now that she's had children; talks about her specific goals in crafting the lyrics for "Lily's Eyes" in "The Secret Garden"; considers whether playwriting has actual rules and can be taught; and compares the story of "The Color Purple" to the classic tale of Cinderella. Original air date - October 20, 2006.

Pulitzer Prize-winner Marsha Norman compares the gathering and rituals shared by theatre and houses of worship; explains why she could never have written "'night Mother" now that she's had children; talks about her specific goals in crafting the lyrics for "Lily's Eyes" in "The Secret Garden"; considers whether playwriting has actual rules and can be taught; and compares the story of "The Color Purple" to the classic tale of Cinderella. Original air date - October 20, 2006.

Is Nocturnal the same thing as the Void? The Dread Father? The Night Mother? Is she older than time? What we do and don't know about the lady of Shadow and Darkness.Join the Patreon! Get cool stuff and access the first 90 episodes of the show all with no ads! https://patreon.com/elderscrollslorecast Audiobooks.com - Get 3 FREE audiobooks (2 VIP!) https://www.jdoqocy.com/click-100173810-11099382?sid=esloreRecommended (affiliate links help support the show without costing you anything extra!)The Infernal City: An Elder Scrolls Novel 1: https://amzn.to/3aO7aBxLord of Souls: An Elder Scrolls Novel 2: https://amzn.to/2EmP9hELinks: Watch on YouTube live & game streams: Youtube.com/c/robotsradioTalk TES with us! Discord: discord.gg/JXKfVhMTwitter: twitter.com/esolorecast Email: elderscrollslorecast@gmail.comGet a cool shirt, hat, or sticker, and support the show. Merch: https://robotsradio.net/store/More awesome podcasts: www.robotsradio.netAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy